Fritz Lang's The Tiger of Eschnapur and The Indian Tomb are hothouse flowers of cinema with gyrating dancers, man-eating tigers, pagan magic, groaning lepers, and mythic moments. Has Lang ever come up with more desperate, mad, or heroic symbols of futile struggle?
The only truth in The Fate of Lee Khan is expressed physically, for these devious, untrustworthy characters become themselves only when fighting. Truly, we shall know them by their actions.
Whereas Sweden was commonly held up as a political-economic "Third Way" between the capitalist West and the communist Iron Curtain, the budding or chafing sexual revolution in cinema was having its own Third Way in the form of Swedish-American filmmaker Joe Sarno.