Looking back at the long and labyrinthian career of Jess Franco, its interesting how portions of his career can be divided into specific era’s based on the producer Franco was collaborating with at the time, often with certain producers wearing other hats as well. Franco’s series of films with producer/writer Harry Alan Towers which include the likes of 99 Women (1969), Venus in Furs (1969) and Eugenie… the Story of Her Journey into Perversion (1969) are often held in high regard by fans, with the Towers era affording Franco some of the larger budgets he ever worked with as well as some pretty big name performers. Franco’s work with Robert de Nesle also produced a plethora of important titles, particularly Countess Perverse (1973), Plaisir à trois (1974) and Lorna the Exorcist (1974). Of course there’s also Franco’s highly divisive later days with producer Kevin Collins and One Shot Productions which resulted in avant digital video experiments like Vampire Blues (1999), Vampire Junction (2001) and Snakewoman (2005) amongst others. One especially fruitful partnership Franco formed was with Swiss jack of all trades Erwin C. Dietrich who put his money up for many a Franco title in the 70’s, one of which was Sexy Sisters, a film that at first might seem a tad anonymous but becomes much more interesting upon closer inspection when its connective threads to other Franco films begin to reveal themselves.
Chained to her bed under the watchful eye of her older sister Edie (Pamela Stanford) and Dr. Charles Barnes (Jack Taylor), Millie von Stein (Karine Gambier) is given the diagnosis of a delirious nymphomaniac prone to hallucinations and fits of sexual mania, occasionally quelled when Edie brings her a lover. After being told that her condition is getting worse, Millie begins to become suspicious of her sister and Dr. Barnes after one of her former lovers, Joe, makes a surprise appearance unbeknownst to Edie and Dr. Barnes, who’s mental mind games with Millie mask a sinister motive.
Doriana Gray (1976) with Millie’s frantic bouts of nymphomania resembling Lina Roamy’s similar fits in Doriana Gray, however unlike that film and Nightmares Come at Night for that matter, the tone of Sexy Sisters is considerably lighter, even surprisingly comedic at times.