It would be most difficult for a viewer to determine a reason why this decidedly economical production was made, as it includes no strata of horror, suspense, or indeed anything at all of abiding interest upon any page of its rather incoherent script. Shot at the sprawling home, and its environs, of Hungarian born Cuban refugee Sepy Dubronyi in the picturesque Coconut Grove section of Miami, Florida, the film depicts the nearly incomprehensible actions of a motley admixture of painters, sculptors, and other artistic types who come and go in random fashion throughout the witless affair. A disjointed narrative opens with sculptor Emile Duvre (Robert Parsons) bringing his young bride Lilli (Abbey Heller) to his home, one that she quickly discovers is ever open to any of his friends for whichever purposes meet their fancies of the moment. In addition, Emile’s uniquely garbed and turbaned manservant, Hajmir, seems to conduct himself in a baleful manner, to the mind of a bewildered Lilli. It also appears that there are attempts being made upon the latter’s life, although these incidents, as with all else in this farrago, are not made convincing to a viewer. There is essentially no rational design to the film, with seemingly significant characters disappearing early on, and any sense of artistry that may have been intended by cast or crew members is not in evidence. The storyline is haphazard, the camera-work is erratic, with quaintly dreadful lighting, and the acting is substandard, often inadvertently comedic
