I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

I like the storyline of this show,it attract me so much

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

In truth, there is barely enough story here to make a film.

Joan Collins returns as middle-aged, sex-mad uber-bitch Fontaine Khaled in the inevitable sequel to The Stud, which sees her becoming involved with a hustler named Nico (Antonio Cantafora), who is trying to raise money to pay off his debts to the mob. But Nico isn't the only one with financial problems: Fontaine is also feeling the pinch, her divorce leaving her far less affluent and her London disco Hobo failing to pull in the crowds.If you enjoyed the tacky disco-era smut that was The Stud, there's a very good chance that you'll enjoy The Bitch as well, this sequel delivering the same heady concoction of swinging sex, melodrama, and crazy dance floor action, all accompanied by a throbbing soundtrack of '70s smashers (including Leo Sayer, Real Thing, Blondie, and The Three Degrees). Fontaine has nookie with every man she meets (sporting black basque, stockings and suspenders and chauffeur cap to seduce her driver), there's a swimming pool orgy scene (yes, another one!), Nico screws a mystery woman who turns out to be working for the mob, and Ian Hendry turns up as British gangster who wants Nico to pay off his debts by doing a small favour for him.It's all instantly forgettable trash, as one might expect from a film based on a Jackie Collins novel, but it's fun for the duration.

"The Bitch" is one of countless exploitation films dealing with the sex lives of the "jet set" crowd, (today they are known as the '1 percenters.) This film offers a tawdry look into a very decadent lifestyle, led by people with no real morals or concern for anything other than their own pleasure. Days are filled with shopping sprees at Cartier and fashion shows, and nights are spent at tacky London discos, or bed hopping. The wealthy circle is rather small, so it seems like everyone has already slept with everyone else, and everybody knows everyone's secrets. Joan Collins is admittedly very good as Fontaine Khaled, the forty-something socialite who made her financial stake by marrying an Arab billionaire, who foolishly gave her everything she could want, before he discovered her extra marital affairs, and quickly divorced her. In this film, an inferior sequel to "The Stud," Fontaine must use her own "skills" to survive. And survive she does, quite well actually. This is super-trash on the highest level. We have violent mob bosses, nude swimming pool orgies, sex with the chauffeur, fixed horse races, jewel smuggling and endless discotheque scenes. And there is an endless display of thick mustaches, thick ties, and thick Euro accents. In fact "The Bitch" might just be the most stereotype "70's movie" ever made. Is it good? Not really; it is very uneven. Some scenes are just awful, like the lengthy dance sequences that are obviously just time filler. But just when you are about to turn it off, it gets interesting again for a while. Because although it might not be good cinema, it is strangely entertaining, and at times, fascinating. Of course it is all fantasy, but somehow we know that there are people who actually live like this, and this film provides a window into that World. Collins is a lot of fun here too. The first film, "The Stud" was somewhat of a commentary on how the working class are used and exploited by the upper class, and it condemns their decadent lifestyle. This sequel however, forgets all of that, and just embraces that lifestyle, and wallows in the decadence. The moral? There is none..other than "every man (or woman) for themselves, and the one who ends up with the most toys wins..

Pretty half-hearted sequel to The Stud, losing Tobias and concentrating on Collins' turn as the bitch of the title, Fontaine Khaled. Whereas a case can be made that the first film said something about the way "the jet set" chew up and spit out working class flesh, this one is little but enamoured by its decadent rich characters, and the lame gangster sub-plot - which ought to be the dramatic centre of the film - goes nowhere (although it still all leaves a pretty nasty after-taste, with every character exposed as morally rotten and alone).Gerry O'Hara - an okay British exploitation director elsewhere - sets up a few stylish shots, mostly involving mirrors; his mise-en-scene seems to imply that these characters are trapped in a world of reflections in which they watch themselves bonk, bitch and banter, deal and double cross into a vapid infinity. The mirroring even goes as far as having The Stud playing on the plane in which Fontaine crosses the Atlantic, but the idea isn't really followed through. It's a fake diamond, like the one leading man Nico Cantafora smuggles into London using Fontaine, not any kind of sophisticated crystal cabinet. Too many of the moments are dead and needless; there's some campy fun to be had from the disco dancing (especially in the gay disco segment) but Nico is an uninteresting protagonist, and Collins has to carry the film by her own limited, although charming, means.The saddest thing here is the appearance of Ian Hendry - clearly not a well man - as a clichéd London gangster, and the original stage Jimmy Porter Kenneth Haigh in the thankless role of Fontaine's accountant and rejected suitor.

This is not Joan Collins' worst film, nor is it even the second-worst film. No, it's probably tied for 3rd with THE STUD (both are part of the great soft-core porn duo of films she made in the late 70s). While I really don't watch skin flicks, this one really didn't show that much and I felt I had to see it simply because I love seeing her awful films of that era. They are so bad and embarrassing to watch, they are mesmerizing! The movie is based on a base book by her almost equally famous sister, Jackie (as was THE STUD). I heard some time back that they now hate each other and don't even talk--I think these movies are the reason why!. It's trashy with a little bit of skin thrown in (though not much of Joan's). Combined with horrible acting, terrible writing and uninspired direction is perhaps the most annoying and stupid theme song ever. So bad, you might want to give it a look just to say you saw Joan at the absolute lowest point in her career.By the way, I noticed some comments said that THE STUD is a better film. Perhaps, but it's like comparing Rectal Cancer to Leprosy--neither one is appealing or something you'd want!!