Five criminals are arrested after a bank-robbery. One escapes, and the police officer in charge of transporting them arrests a new person at random to cover up for his negligence.
There's nothing like a good, opulent, gaudy musical to lift the spirits, but when it's a 1960's Hong Kong musical orchestrated by a Japanese director and composer, it breaks through the ranks as a classic of campy kitsch.
Centring on the legend of the four ancient Chinese heroines, the film was a novelty for audiences at the time, as the singing performance was in Cantonese and used huangmei operatic rhythms—a popular trend in the 1960s, yet it retained traditional flavours by using operatic luogu percussion in the battle scenes.
In a Canadian mountain resort, Vixen Palmer resides with her naive pilot husband Tom. While he's away flying in tourists, she sleeps with practically everybody including a husband and his wife, and even her biker brother.
Forced behind British lines by engine problems, the Red Baron camouflages his plane, swaps uniforms with a dead soldier, and, posing as a Belgian, makes his way to a hospital.