Structured to be oh so serious as it deals with troubled blonde Olga Schoberová, going from dealing with a perverted letch to finding out that she's next in line to be the one who must be obeyed. Schoberová appears in flashback apparently as the character that Ursula Andress played in the 1965 Hammer version, as well as the double stunned to find her doppelganger carved in gold on the side of a very steep canyon.
Exotic looking sets fool the audience into thinking that they're watching something profound with poetic sounding dialog from supposedly mystical characters who are castaways from Shangri-La, one of them looking like the high Llama and another looking like any one of the villains from "Lawrence of Arabia" or later "Indiana Jones" films. But it's painfully slow and rarely unintentionally funny which could have made this a camp classic. The more it strives for spectacle while shooting the fantasy sequences, the further away it flies from actually being spectacular. The costumes combine every theme that Hammer could grab quickly from wardrobe to add to its conflicting period of time setting.
Exotic looking sets fool the audience into thinking that they're watching something profound with poetic sounding dialog from supposedly mystical characters who are castaways from Shangri-La, one of them looking like the high Llama and another looking like any one of the villains from "Lawrence of Arabia" or later "Indiana Jones" films. But it's painfully slow and rarely unintentionally funny which could have made this a camp classic. The more it strives for spectacle while shooting the fantasy sequences, the further away it flies from actually being spectacular. The costumes combine every theme that Hammer could grab quickly from wardrobe to add to its conflicting period of time setting.