User Reviews

Though the "couples film" craze didn't properly take off until the early '80s, when they were massively hyped and promptly died (at least in terms of quality), this sub-genre has been present in embryonic form since the dawn of theatrical porn and more specifically the Mitchell Brothers' classic BEHIND THE GREEN DOOR in 1972. The late Sam Weston (a/k/a "Anthony Spinelli") had some mainstream experience as a producer, funding Larry Peerce's then groundbreaking interracial romance ONE POTATO, TWO POTATO with the brilliant Barbara Barrie in 1964. He was also the brother of popular comedian and character actor Jack Weston. In his subsequent sexploitation and hardcore porn efforts, he always attempted to add those qualities readily associated with Hollywood studio releases, such as credible characterization, professional acting standards and occasionally ostentatious production value, in this case the renting of a private plane seemingly piloted by lead actress Amber Hunt. Speaking of whom, Hunt had caused quite a stir as Hustler magazine's November '75 "Honey", which is their version of Pets and Playmates, on the strength of which she was cast in this, her acting debut. A wide-eyed beauty possessed by a demonic sexuality (witness her fist-taking abilities – yup, you read that right ! – in Bob Chinn's classic doctors 'n' nurses romp CANDY STRIPERS), she proved rather inconsistent as a thespian, as painfully evidenced by her less than stellar lead performance in Shaun Costello's Fiona ON FIRE. Weston being the consummate actor's director in adult however, he got a career performance out of her, on her maiden voyage (in a manner of speaking…) no less.

Callgirl Cindy flies back after an out-call date with wealthy Turk Lyon (a busy performer best remembered for playing the lead in David Frazer and Svetlana's SEX BOAT) and is immediately chastised by sadistic pimp Ben (the excellent Jack Wright, billed as "Mark McGuire", a Weston mainstay) for holding out on her earnings. She claims she's supporting a sick aunt yet who should show up but destitute boyfriend Dennis (Fred James, who looks a bit like Richard Pacheco), the guy she's putting through medical school thanks to her "modeling assignments" and who learns the bitter truth right there and then. Heartbroken, Cindy dolls herself up and throws herself out of the window onto the pavement below in an economically and effectively shot and edited sequence involving nothing more than a freeze frame, a spiraling camera and a shocked reaction shot. Around her coffin, those who knew and loved her remember how kindhearted hairdresser Anna became high-priced hooker Cindy.

Taken in by friendly prostitutes Yvonne (Maryanne Fisher) and Nora (Mitzi Fraser) to make ends meet, Anna soon finds out she really enjoys this line of work and may never be able to go back to being a one man woman. Whether this constitutes male fantasy or f*ck film feminism remains open to debate – presumably a bit of both – but the character's eventual fate reeks of the type of moralizing necessitated by exploitation cinema's need for "socially redeeming value" with the "wages of sin" clearly stipulated. Soon to be superstar John Leslie kept bugging Weston to let him play a much older man, commencing one of the most fruitful actor/director relationships in porn. He's Cindy's first client, so it's little wonder that she's immediately, well, hooked ! Their very hot encounter is inter-cut with Fisher passionately devouring the ever dependable Ken Scudder (the blind piano tuner from Weston's EASY) and Frazer's more comedic tussle with pot-bellied Al Russo. Neither actress was ever seen or heard of again. They hardly look like porn performers to begin with, yet the notion that they might be out of work mainstream talent moonlighting in adult is belied by their really rather impressive performance abilities. Reliable John Seeman, the good-looking guy with the balding front who played the sympathetic chauffeur in Richard Kanter's superlative DESIRES WITHIN YOUNG GIRLS, stretches Hunt's talents along with her rectal cavity in a particularly well-done back door number.

Weston may have eschewed graphic close-ups throughout much of his subsequent couples-friendly fare, this early effort still closely adheres to the genre's demand for monster shot explicitness and is none the worse for doing so. Acting is solid across the board, Hunt handling her big emotional outburst when torn between lover and pimp with surprising aplomb. Photography by "Casey Maxwell" (probably some all purpose industry pseudonym, also turning up on such anonymous sequels as SORORITY PINK 3 and TITILLATION 3) is alternately bright and colorful for outdoor scenes and soft and hazy for the movie's more romantic romps, the ubiquitous fireplace crackling in the background. The soundtrack contains several original songs, unfortunately all of them in a rather syrupy veneer. If the credits number, entitled "Cry No More" and warbled by Marilyn Meyers, sounds familiar, that's because it's another reworking of the Civil War tune "Aura Lee" which also inspired Elvis Presley's "Love Me Tender".

Beautiful, but forlorn and unhappy Cindy (a fine and affecting performance by the ravishing Amber Hunt) doesn't care for her life as a much lusted after hooker. The despondent Cindy commits suicide by jumping out of a window. Various friends and colleagues gather together at Cindy's funeral to remember her.

Director Anthony Spinelli and writer Dean Rogers bring a strong sense of sadness and tragedy to this picture which gives it a surprisingly substantial amount of depth and pathos. Moreover, Spinelli and Rogers deserve extra praise for handling prostitution in a realistic and unsentimental manner; former hairdresser Anna gets into the life out of fiscal necessity, changes her name to Cindy, and soon finds turning tricks to be dangerously addictive. The ever-creepy Jack Wright contributes a splendidly slimy portrayal of vicious pimp Ben. In addition, this movie further benefits from solid acting by Maryanne Fisher as the catty Yvonne, Mitzi Fraser as the sassy Nora, Spender Travis as amiable boyfriend Dennis, John Leslie as nice guy first trick Hank, and John Seeman as an eager motel john. The sex scenes are quite steamy and strenuous. Casey Maxwell's dazzling cinematography makes artful use of split screen, fades, and dissolves. Gene Richard's occasionally gently melodic score and the marvelously mawkish theme song add to the overall melancholy mood. Recommended viewing for fans of Golden Age adult cinema.