Naughty Nymphs (1972) Franz Antel, Michel Caputo, Sybil Danning, Eva Garden, Alena Penz, Comedy, Erotic

When evil tyrant Luis Bonosario enslaves the people of 19th century Los Angeles, Don Diego de Vega, "the greatest swordsman in Spain," returns from Madrid to make the world safe for truth, justice, and naked women! Posing as a limp-wristed pansy by day (who rides a white donkey while clutching a parasol), Don Diego secretly becomes Zorro at night, "brandishing his long, quick rapier!" When he's not helping the oppressed, fighting duels, or slashing the letter "Z" onto derrieres, Zorro is busy bedding down a gaggle of gorgeous senoritas until he zeros in on Maria, Bonasario's lovely niece.

This stylish and beautifully sung and acted 2006 performance of Don Giovanni from the Zurich Opera House should be of strong interest to anyone who loves the opera. The production, directed by Sven-Eric Bechtolf with costumes by Marianne Glittenberg and particularly striking sets by Rolf Glittenberg, is visually and dramatically dazzling. The timeframe is contemporary, but the clever trompe l'oeil set suggests the infinitely receding stage depth that flourished in 18th century scenic design. Don Giovanni's palace is a cosmopolitan playboy's penthouse, and the costumes clearly define the social standing of the characters in modern terms.

Featuring compositions and arrangements by film composer and jazz buff Michel Legrand, Stan Getz's Communications '72 is one in a long line of strings-and-voices albums the tenor saxophonist recorded. Starting with a Gunther Schuller-arranged session from 1955, Getz produced some impressive work in this context, with the incredible Eddie Sauter collaboration Focus standing out in particular. And even in the midst of some not-so-incredible backing on a few sets, Getz always comes up with impeccable solo statements. For his part, Legrand strikes an expert balance here among jazz combo, strings, and chorus, but the frenetic Swingle Singers-style choral parts don't always come off. While overpowering Getz on the otherwise lovely "Redemption," the vocal interjections sound too overarching in their mix of avant-garde and straightforward phrasing on "Outhouse Blues" and "Bonjour Tristesse"…

"La Venganza del Doctor Mabuse" actually is one of Franco's better films of that period with delightfully twisted characters, stunning locations, truly beautiful camera-work and a terrific musical score. The story is of minor importance but it handles about the mean Dr. Mabuse and his accomplices stealing all kind of attributes from a National Research Institute (including female staff members) in order to complete his own, evil mind-control ray. Dr. Mabuse has this impressive and horribly scarred man-monster that kills for him while the entire police force desperately tries to catch him.

Featuring compositions and arrangements by film composer and jazz buff Michel Legrand, Stan Getz's Communications '72 is one in a long line of strings-and-voices albums the tenor saxophonist recorded. Starting with a Gunther Schuller-arranged session from 1955, Getz produced some impressive work in this context, with the incredible Eddie Sauter collaboration Focus standing out in particular. And even in the midst of some not-so-incredible backing on a few sets, Getz always comes up with impeccable solo statements. For his part, Legrand strikes an expert balance here among jazz combo, strings, and chorus, but the frenetic Swingle Singers-style choral parts don't always come off. While overpowering Getz on the otherwise lovely "Redemption," the vocal interjections sound too overarching in their mix of avant-garde and straightforward phrasing on "Outhouse Blues" and "Bonjour Tristesse"…