Co-writer / director Ray Dennis Steckler pays homage to film noir with this straight faced little drama. He also stars, as low rent private eye Charles Smith, hired by a man named Ferguson (Alan Smith) to locate his former secretary Carrie Erskine (played by the sexy Carolyn Brandt, who was at one time Mrs. Steckler), who absconded with $150,000 worth of heroin that Ferguson was holding for big cheese mobster Big Mack (Bernard Fein). Big Mack actually doesn't seem to care that much about the theft; he just wants Ferguson dead. And a lowlife bad guy associate of Carrie's, Frankie Roberts (Gary Kent), wants in on the action.

It's interesting to see Steckler, he of the notoriously limited budgets, actually take himself somewhat seriously. The result is a moderately entertaining movie, one with no real fireworks but a story that proves to be at least watchable. It comes up short in terms of exploitable elements - there's no gore and no nudity, and the few sex scenes that occur are done rather tastefully. The cast does some good work. Steckler is likable enough in the lead, and Ms. Brandt, who wears a Catwoman-like costume for the theft, is certainly easy on the eyes, as are the other ladies such as Dina Bryan as Charles's secretary Stella, Bret Zeller as drug addict Carol Hollister, and Pat Jackson as model Julie Richards. Fein and Kent are effective antagonists, and there are also roles for Ron Haydock as the slimy photographer and Coleman Francis (director of the classic "The Beast of Yucca Flats") as Charles's old friend.

B movie aficionados may find this to be a refreshing change of pace for Steckler as it keeps silliness to a minimum.

Five out of 10.

Amiable private detective Charlie Smith (a charming and likable performance by Ray Dennis Steckler) tries to find elusive cat burglar Carrie Erskine (Carolyn Brandt at her most foxy and enticing) who has stolen an expensive stash of heroin from ruthless drug ring kingpin Big Mack (robustly essayed with growly gusto by Bernard Fein). Charlie and Carrie plot together to double cross the gangsters who are after them. Steckler does a sound job of covering all the nifty noir bases: Hard-boiled narration, grimy locations, a groovy jazz score by Henri Price, a tough gritty tone, an amusing sense of cynical humor, rough'n'tumble fisticuffs, several hot dames (Brandt in particular makes for a perfectly tasty and duplicitous femme fatale), a convoluted plot, and affectionate nods to Humphrey Bogart and vintage 40's film noir classics. The wonderfully seedy rogues' gallery of colorful and entertaining low-life characters helps a whole lot: Dina Bryan as sassy secretary Stella, Larry Chandler as hippie pimp Waco, Ron Haydock as the smarmy Fritz the Photographer, Coleman Francis as down on his luck old-timer Coley, Julie Conners as alluring dingbat Shawn Call, Pat Jackson as zonked-out stoner Julie Richards, Herb Robins as wormy lackey Herbie, and, best of all, Gary Kent as vicious dope-peddling hoodlum Frankie Roberts. The slim budget and ragged production values add immensely to the overall deliciously seamy atmosphere. Jack Cooperman's fairly polished cinematography boasts a few snazzy stylistic flourishes. A nice change of pace for Steckler.

Ray Dennis Steckler is the fascinating film maker behind the amazing mid-60s films "The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies", "Rat Pfink a Boo Boo", and "The Thrill Killers". This, a lesser known effort, is none the less entertaining.

Steckler stars as "Charles Smith", a private eye hired to track down a woman who stole a big bag o' heroin (played by Steckler's real life wife, Carolyn Brandt). Charles Smith falls for the dame, of course, and they plan a double cross (actually a triple or quadruple cross. It gets complicated.)

Steckler has a wonderful, self-depreciating humor in this performance (a charm missing from his "Creatures" acting job). He plays much of the movie for laughs (like the scene in which a gal jumps on top of him to kiss him, knocking over the entire couch Steckler is sitting on). Brandt is not as entertaining as Steckler, and looks very bored throughout all her scenes, which makes the couple's love scenes interesting to watch.

The movie also contains one of the greatest actor/film makers of all time, Coleman Francis, the man behind the legendary "Beast of Yucca Flats", "Skydivers", and my personal favorite "Night Train to Mundo Fine". Steckler gave the part to Francis as a favor, as Francis was down on his luck at the time. Coleman is natural and likable in his three brief scenes as a laundomat owner that Smith confides in.

Over all, Body Fever has several loose ends, poor acting, and silly dialog, but these add to the charm. If you are a fan of all things Stecklerian (and you should be) check this movie out.