The Films (3.5/5, 3/5)

To most people, Joan Collins is best remembered for her performance as the over the top Diva, Alexis Carrington in the hit 80’s nighttime soap opera, Dynasty (1981-89). Since the series first aired, Alexis became the signature role for Collins. Before landing this comeback role, Collins got a change to test out her super diva image with two disco melodramas, based on best seller novels by her sister, Jackie Collins. The movies in question are THE STUD (1978) and the quickly made sequel, THE BITCH (1979). The role of Fontaine Khaled changed Joan Collins career forever, and now thanks to Kino, these problematic movies get a chance to shine on Blu-ray.

THE STUD tells the story of Tony Blake (Oliver Tobias), who helps to run the high class discotech, Hobo. Tony spends his nights managing the Hobo, running off with every woman in town, and trying to survive the many house calls from his boss’s wife, Fontaine (Joan Collins). But Tony is growing sick of this high life, and being under the thumb of a greedy woman. He wants to break out and start his own club. But will he be able to escape the claws of Fontaine.

While THE STUD is technically about the character of Tony, Joan Collins completely takes over the plot. It’s kind of sad when you think of how little the stud of the title gets to be a character at all. Fontaine dominates the first hour of the film, and becomes endlessly watchable. The plot of Tony starting up a disco almost seems like an afterthought. By the end of the film, Tony starts to develop as a man. But it’s too little too late.

On the plus side, Joan Collins (TALES FROM THE CRYPT, EMPIRE OF THE ANTS) delivers a fun and sexy performance. She is as nasty and hateful, as she is glamorized. Oliver Tobias adds as much depth as he can with his under written role. He is charming and smooth, and the influence on AMERICAN GIGOLO (1981) is clear. Smooth car, stylish clothes, and a bad boy attitude. The last 30 minutes are a great showcase for him. Speaking of style, THE STUD showcases the fun and bleak side of disco excess. The sharp call for help of cheap sex, and meaningless orgies. For a disco movie, THE STUD’s strongest ace in the hole, is its fantastic soundtrack. “Love is like Oxygen” by the Sweet, I’m Not in love” by 10CC, “Native New Yorker” by Odyssey, “Emotion” by Samantha Sang, and many more. Why there isn’t a new remastered CD is beyond me.

Because THE STUD was a huge success, A sequel was a no brainer. THE BITCH tells the story of a now divorced Fontaine trying to keep the disco Hobo alive. She is quickly losing money and close to losing the club. On a plane ride back to London, she meets the gambler and ladies’ man, Nico (Antonio Cantafora, billed as “Michael Coby”) who quickly wins her heart. But things start to heat up when the Mob becomes involved with Nico and Fontaine.

THE BITCH is a highly entertaining disco romp, but there’s a huge drop in content. The first major one is the irony in calling this THE BITCH, since Fontaine has mellowed out since the first film, and is trying to leave the bad girl life behind her. On a technical level, the film is more stylish and flashy. As for the script, It’s a hilarious mess. Everything is so focused on the club, then the tonal shift to the mob plot just becomes confusing.

While THE STUD tried real melodrama, THE BITCH is campy fun from the start. The opening credits and title theme song by the Olympic Runners is bad movie gold. Joan Collins yet again steals the show, and is strangely likeable. Her costume changes and wild make up showcase the 70’s in the funniest light. Antonio Cantafora (Mario Bava’s BARON BLOOD) is also fun to watch as the worst example of a hot Italian lover. His line deliver between himself and Collins is a never-ending laugh riot. While by no means a “good movie”, THE BITCH is perfect comfort food for any disco junkie.

Audio/Video (3/5)

The main audio track is the 2.0 English. Of the two, THE STUD suffers from major peaks and valleys with audio. The dialogue is muffed, and the soundtrack varies in loudness. One second over powering, the next too quiet.  THE BITCH’s track is sharper and clearer. The main titles sound especially good. Cantafora’s accent and the background F/X work is muffed and is too soft. English subtitles are included.

Both films have a 1080p Transfer. THE STUD is too dark in most scenes. There’s a heavy amount of film grain and a soft glow over the whole picture. The disco club scenes and the French bathhouse are the best-looking sequences in the picture. THE BITCH, on the other hand, looks sharper. The black levels are smoother, and the disco scenes are brighter. The movie doesn’t suffer from any milky haze.

Extras (3.5/5)

Both films come with highly entertaining commentaries by Film Historians David Del Valle and Nick Redman. The two men are knowledgeable and witty, but some of the track tends to go off topic to more gossipy details. The wide range of topic made the tracks worth two listens. My favorite part was the differences between American disco culture and British. On THE BITCH disc, there’s an interview with director Gerry O’Hara. Rounding out the discs are trailers for both films.

Overall (3.5/5)

THE STUD and THE BITCH are campy time capsules that showcase the British disco culture at its peak. THE STUD is a surprising enjoyable drama, while THE BITCH is an over the top showcase for Joan Collins. And if you love disco music, both films deliver the goods with the soundtracks. Recommended.