Ilsa, Harem Keeper of the Oil Sheiks

Ilsa, Harem Keeper of the Oil Sheiks is a 1976 Canadian-American action exploitation film, directed by Don Edmonds and starring Dyanne Thorne, Max Thayer, and Jerry Delony. It is the second installment of the Ilsa series preceded by the controversial 1975 movie "Ilsa: She Wolf of the SS".

The film is set amidst the backdrop of the oil-rich Middle East. Thorne reprises her role as Ilsa, this time not as a Nazi officer but as the merciless harem keeper of a wealthy oil magnate, El Sharif, who is a key figure in the world oil market. Taking a slight departure from its predecessor, the film intermingles elements of political intrigue, deception, and exploitation, keeping viewers on the edge of their seat throughout its runtime. Dyanne Thorne excels at reinventing her character, demonstrating once again her remarkable ability to portray brutal yet intriguingly complex antagonists.

Ilsa navigates through intricate political manipulations while managing El Sharif's harem, which is home to countless women kidnapped from around the world. She leaves no stone unturned in ensuring the sheikh's desires are met. At the same time, her ruthless enforcement of power brings her face to face with formidable adversaries. She is as seductive as she is ferocious, using her allure to consolidate control over the harem and satisfy the whims of her employer.

Max Thayer plays a notable role of the American diplomat, Dr. Kaiser. His performance exemplifies the spirit of defiance in stark contrast to the oppressive regime. Jerry Delony plays the oil sheikh El Sharif, portraying the character's flamboyant excess, lust for power, and disregard for human rights with gripping authenticity. The dynamic interactions between the domineering Ilsa, the crafty diplomat, and the power-hungry sheikh add levels of tension and drama to the plot.

The film showcases the grim side of power and politics with an interesting undercurrent of feminism. While Ilsa's methods are despicable and harsh, her character embodies a certain kind of female empowerment in a male-dominated world. Her dominion over the harem and her ability to manipulate the people around her make a compelling commentary on the skewed power balance between the genders.

As with many exploitation films of its time, Ilsa, Harem Keeper of the Oil Sheiks can be quite graphic in its depiction of violence and sexuality. The film never shies away from showing the brutal realities of the environment it depicts, making it potentially unsettling for some viewers. However, for those with a taste for the gritty, it offers a unique exploration into the darker side of human nature and a subtler commentary on moral corruption induced by power.

The cinematics and production design truly transport the viewers into the opulent yet chilling atmosphere of the Sheik's palace. The ostentatiousness of the setting contrasts sharply with the sinister machinations of the characters within, serving as a fitting backdrop for the turmoil and tension that unfolds.

Furthermore, the film's controversial portrayal of Middle Eastern culture, dappled with cloying oriental stereotypes, stirs thought-provoking questions about the prejudices and biases prevalent at the time. It should be noted that Ilsa, Harem Keeper of the Oil Sheiks, like the first film in the series, is not a casual viewing experience given the explicit sexual and brutal content. It has proven to be divisive among movie-goers and critics alike, with some praising the film as an audacious spectacle of exploitation cinema, while others condemn it for its lack of sensitivity and excessive display of violence and degradation.

The film is a product of its time, and it is best understood when viewed through that lens. Though it can be uncomfortable and controversial, it plays an essential part in the evolvement of the exploitation genre and has cemented its place in cult cinema. While definitely not for the faint-hearted, Ilsa, Harem Keeper of the Oil Sheiks remains a thought-provoking examination of power, corruption, and the depths of human depravity.