I don't have much to say here, just another Jésus Franco trash fest in his unique style of laid-back anti-directing.
This time an early one from 1967 made in pop art style about some super-agent or superhero or something.
Do i really have to write anything here .... wouldn't silence be better ?
OK, all Franco lovers out there - i do have the right to trash the master as i've spent a fortune through the years
in getting uncut copies of his films, at first on VHS tapes and then on DVD and Blu-ray. Why i don't know.
I have no clue as i every time after a watching wants to cut out my eyes and shrieks no more, no more, help!

Well, i certainly can't forget this harmless eurocrime comedy, not because of the film and it's haphazardly direction
but because of the italian theme song (maybe written by honored eurocrime and giallo composer Bruno Nicolai)
it gets stuck in your poor brain, and goes something like: Lucky! Bam! Bam! and i sing it when showering or on my
way to work .... Lucky! Bam! Bam! Help! I want it out of my head. ... Lucky!

Jess Franco was something of a filmmaking rebel, with his own (if most often very crappy) style and his trademark,
a total disregard of cinematic coherence. For psychotronic film lovers that surely has a strange allure.

Lucky M. is a light-hearted super agent action-comedy and there's no fur in it. No happy bushes and muff-zoom
lens that also were a Franco trademark in his more adult orientated movies. I fell asleep watching it so i can't tell too
much about the story, but there's a coughing killer, Ray Danton as Lucky , Jesse as a tramp on a train, adventures
in Rome and Albania and lovely Rosalba Neri as an Albanian military officer.

OK, this sounds pretty cool, a pop art superhero film from the swinging 60's .... but it's not. No Mario Bava slick pop
art visuals as in Danger Diabolik. But is has a Bruno Nicolai soundtrack, Rosalba Neri and a bunch of fine forgotten
euro-flick vixens and may be suitable for all us cretinous trash film lovers out there forever lost in the big void.

This film was presented in anamorphic widescreen 2.35:1 and with english audio 2.0 (beware of heavy accents and i
had to have earphones on to decipher the broken english from the multi-euro cast), bild gallery and a german trailershow