I like the storyline of this show,it attract me so much

That was an excellent one.

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

On a recent TCM special presentation entitled "Cruel Beauty," four great actresses of the film noir genre--Marie Windsor, Audrey Totter, Jane Greer and Coleen Gray--were brought together for a fascinating discussion of this most American of cinematic contributions. And in the case of Nebraska-born Coleen Gray, her credentials for inclusion were impeccable, having previously starred in such noir classics as "Kiss of Death," "Nightmare Alley," "Kansas City Confidential" and "The Killing." But noir, of course, wasn't the only film genre to which Coleen lent her considerable skills. In 1957, she appeared in the difficult-to-see American film "The Vampire" (not to be confused with the 1957 Mexican film entitled "The Vampire"!) and, three years later, played what almost might be considered three roles in "The Leech Woman." Released in May 1960, the film in question turns out to be a hugely entertaining and well-acted bit of hokum from Universal Studios; one that, despite its lampooning on an "MST3K" episode, holds up very nicely today.In the film, Coleen plays the part of June Talbot, the embittered, rich, alcoholic wife of endocrinologist Paul Talbot (played with nasty verve by Phillip Terry). The unhappy couple is on the verge of divorce when Malla, a woman who looks more like a mummy and who claims to be 152 years old (an excellent performance here from Estelle Hemsley), arrives in Talbot's office with a sample of a substance called "nipe," which she claims has been prolonging her life. Spurred to overriding curiosity, Paul convinces June to go on an expedition with him to Tanganyika, where, Malla says, the substance originates; what's more, the nipe, when combined with another substance, supposedly has the power to also REVERSE the aging process! Thus, in the film's first half, the Talbots do journey to deepest, darkest Africa on their quest, assisted by guide Bertram Garvay (John van Dreelen, a kind of poor man's George Sanders). The men, unfortunately, do not survive the journey, thanks to June's machinations. In the picture's second half, June--having been rejuvenated by the nipe combined with the pineal secretions extracted via a particularly nasty finger ring--pretends to be her fictitious niece "Terry," in an effort to steal her hunky-dude lawyer Neil Foster (Grant Williams, who many will recall from the 1957 sci-fi classic "The Incredible Shrinking Man") away from his fiancée Sally (Gloria Talbott, whose list of horror credits is almost as impressive as her sweater profile, including as it does "Daughter of Dr. Jekyll," "The Cyclops" and, most especially, "I Married a Monster From Outer Space"). But trouble soon looms, when June's youthful appearance reverts to an even more aged one than before, requiring her to secure pineal secretions with greater frequency....In a film with surprisingly many features to commend to potential viewers' attention, for me, the most outstanding are the makeup effects by Bud Westmore on both Coleen and Ms. Hemsley. Coleen, who was only 38 when she made this film, looks convincingly dowdy when we first encounter her June Talbot character; a nice-looking woman gone to seed. It is only after June is rejuvenated by the nipe do we remember what a stunning-looking actress Coleen was, and indeed, I have never seen her look better. But even more impressive are the makeup FX on Malla, who truly resembles a desiccated mummy when we first see her, her face a prunelike mass of corrugations and wrinkles. Not since Jack Pierce's work on Boris Karloff in 1932's "The Mummy" has a human visage looked so convincingly ancient! But the film has lots more to offer than just expert makeup. Director Edward Dein (who had helmed the notorious cowboy/vampire hybrid "Curse of the Undead" a year earlier) manages to bring his film in tautly (the entire affair runs to only 77 minutes), while the lensing of DOP Ellis W. Carter (who had previously shot, in 1956 and '57 alone, such sci-fi/horror classics as "The Mole People," "The Incredible Shrinking Man," "The Deadly Mantis," "The Land Unknown" AND "The Monolith Monsters"!) keeps things nice and moody. The film features some of the wildest and most frenzied native dancing that this viewer has ever seen (including that in 1933's "King Kong"), and that (studio-shot) African ambiance is further enhanced by the seemingly obligatory stock footage of elephants, monkeys, antelopes, lions, snakes, crocodiles, hippos, a charging leopard, and jungle birds that squawk "ooo ooo, ah ah ah ah !" Any number of memorable scenes crop up, my favorite being the one in which June stabs Garvay in the neck with that fanged ring as he slowly sinks into a quicksand pool. Surprisingly, the film can also be viewed as having a feminist subtext, best expressed by cronelike Malla, when she declares that men only grow more dignified with age, while older women are cast aside and have nothing. And indeed, the three men who June does away with in this film (Paul, Garvay and, back home, a con man played by Arthur Batanides, who many will recall from the classic "Star Trek" episode "That Which Survives") had all tried to exploit her, or rejected her when her beauty faded, or tried to steal from her (even Sally, who is shockingly exterminated by June toward the film's end, had held her at gunpoint). This sympathetic viewpoint--of the unfortunate plight of the aging, no longer conventionally beautiful woman--is a fairly enlightened one, and helps to lift the film a few notches higher. But basically, "The Leech Woman" just wants to entertain, and at that, it succeeds marvelously. And Coleen Gray, whether playing it dowdy or beautiful, as June or as Terry, is responsible in large part for the film's success....

What do you expect from a film called The Leech Woman? It is by definition one of those sci-fi "B" movies strung together as a support feature that played whilst theatre patrons were still necking, chatting and eating etc.Plot follows in the tradition of something like The Wasp Woman (1959), that plays on the theme of a woman striving to stay young as the advent of time catches up with her. Cue bonkers science, where here it involves a trek to the jungles of Africa to unearth the secret of eternal youth. Naturally things get very bent out of shape and pain and misery are sure to follow.Thematically it has mixed messages, on one hand it dares to say, unappealingly so, that a woman is only viable for love and happiness by being young and beautiful. On the other hand it is possibly having caustic observations on the dangers of vanity? The makers intentions are not clear so really the viewers are left to their own devices on that one.It's never scary and some of the latex effects work is poor and befitting the minuscule budget. While the first half hour feels awfully padded out. But all things considered it's not a bottom feeder of the genre, and actually would make a nice companion piece with The Wasp Woman. 5/10

*Spoiler/plot- 1960, An unhappy wife of an obsessed endocrinologist gets involved in his search for a youth drug when an 140 years old African woman seeks out the doctor to get money to return to her African home when she reveals her secret of youth. The doctor and wife go to Africa and learn the secret, but the wife kills her husband and multiple people to stay young when the widow comes home to the US.*Special Stars- Colleen Gray, Grant Wiliams *Theme- Be careful what you wish for, you might not like it.*Based on- Doctor Jeckle and Mr. Hyde, Frankenstein, Fountain of Youth myths *Trivia/location/goofs- ONLINE. This film is interesting in its attempt to take the story from urban US cities traveling into the 'darkest' remote parts of Africa and back. Continuity problem: The file footage shows several different well known African tribal dances of the era, but are unrelated tribes.*Emotion- A fun 50's B-movie romp from Universal Studios consisting of an interesting plot involving 50's cheesecake pin-up shots, some dramatic moral issues and interesting geographic location footage.

Perhaps the very last gasp of the Universal horror classics and, consequently, one of their least offerings – especially since the plot is virtually a copy of Roger Corman's THE WASP WOMAN (1959) which, while no masterpiece in itself, is undeniably superior to this and, at least, does feature a monster! In fact, for the first three-quarters of an hour, the film could almost be mistaken for a parody of an overwrought "woman's picture" (of the type Universal itself churned out to the masses at the time) with its central married couple incessantly hurling insults at one another – the fact that she is ten years older than he has driven her to seek solace in drink! All of this changes when a wizened old woman reveals the existence of a rejuvenating potion, so they embark on a trip into the jungle at the end of which thy hope to remain together; there is a catch, however, in that the concoction requires the fresh blood of a sacrificial victim and, as a means of vindication, the woman chooses none other than the understandably disgruntled hubby to bring about her much-desired youthfulness! Unfortunately, the effect of the drug is only temporary (not to mention the fact of its user growing gradually older when she reverts back to 'normal') and, having pilfered the mixture and the deadly ring used in the rite (despite having a small blade, it can apparently lop off heads with one blow!) from under the re-invigorated old woman's nose, she returns home posing as her own niece and immediately catching the attention of her lawyer (a stiff Grant Williams from THE INCREDIBLE SHRINKING MAN [1957]) much to the chagrin of his girlfriend (Gloria Talbot of DAUGHTER OF DR. JEKYLL [1957] and I MARRIED A MONSTER FROM OUTER SPACE [1958]). Needless to say, the woman is forced to prowl the streets in search of prospective blood donors and, in a fit of rage, even murders Talbot (who had turned up at her house for a showdown) to this end…but it is all in vain as, in a manner reminiscent of Jekyll & Hyde, changes to her natural state in front of Williams and the Police and subsequently hurls herself out the window! Cheap (the African footage is mainly composed of stock footage and even the transformation is hidden, for no very good reason, behind puffs of smoke!), talky and derivative, it all makes for a rather dreary affair – watchable enough in itself but, much like THE MOLE PEOPLE (1956) from the first Universal Sci-Fi set, clearly a substandard product.