Porn maestro Stu Segall dipped into the underage girls bag (made popular by the likes of Jim Buckley and later Leonard Kirtman) with TEENY BUNS, an entertaining, well-made picture. It's not famous like big hits (both theatrically and later via video revival) LITTLE GIRLS BLUE or LITTLE DARLIN'S but is better on most accounts.
Great cast has genre princess Nancy Hoffman starring as Lisa, a school girl whose mom Kristine Heller (herself a veteran of this sub-genre yet cast as much older here for some reason) is worried that the girl is hanging around the house too much now that her boyfriend is away at college.
Lisa goes out on a date with the boyfriend Bob of her best gal pal (who is herself away at college), and the bearded guy who shows up is at first unrecognizable in very thick beard, but turns out to be superstar John Leslie. He had made many films and loops as the dirty old cradle robber (often with fake grey at his temples) so it's something of an in-joke casting him here as supposedly circa 20 years old, off by nearly 15 years.
Bob leaves her a Franklin after their sex scene which gives Lisa an idea: why not start hooking, with Bob as a referral agent (read: pimp) for $100 a pop. She talks her girlfriends China Leigh (fine here after I'd seen her in a disastrously dumb appearance as the Fairy Godmother in Serena's 1980 stinker about Cinderella) and Donna Ruberman, an obscure actress whose guest blow job in a fantasy sequence of LITTLE GIRLS BLUE is to me a classic moment in the genre's history (I've watched that brief sequence in slow-mo many times).
That's basically the entire picture, watching each girl (and Ruberman/Leigh in tandem with another dirty old actor John Seeman) have sex. The combination of underage-looking women with prostitution is a sure-fire formula for success with porn's target audience, at least that segment not obsessed to the exclusion of all else with huge breasts. In a flashback, ma Heller also gets to strut her stuff in the sack.
Hoffman's beauty is showcased here and the veteran director Segall uses interesting photography including a spectacular wide-angle lens sequence shot from below distorting Hoffman's breasts artfully during a doggy-style-sex scene. Every sex scene has its own original song on the soundtrack (credited to prolific Lon John Productions) giving the film a distinctive quality.
One interesting wrinkle for me is that the film's mood, attitude and subtext reminded me a lot of the greatest soft-core picture of all time, THE ALL-American GIRL, indicating that had Segall teamed up with that film's unsung star Peggy Church then hardcore film history could have been made (assuming he twisted her arm to go all the way for a change).
Great cast has genre princess Nancy Hoffman starring as Lisa, a school girl whose mom Kristine Heller (herself a veteran of this sub-genre yet cast as much older here for some reason) is worried that the girl is hanging around the house too much now that her boyfriend is away at college.
Lisa goes out on a date with the boyfriend Bob of her best gal pal (who is herself away at college), and the bearded guy who shows up is at first unrecognizable in very thick beard, but turns out to be superstar John Leslie. He had made many films and loops as the dirty old cradle robber (often with fake grey at his temples) so it's something of an in-joke casting him here as supposedly circa 20 years old, off by nearly 15 years.
Bob leaves her a Franklin after their sex scene which gives Lisa an idea: why not start hooking, with Bob as a referral agent (read: pimp) for $100 a pop. She talks her girlfriends China Leigh (fine here after I'd seen her in a disastrously dumb appearance as the Fairy Godmother in Serena's 1980 stinker about Cinderella) and Donna Ruberman, an obscure actress whose guest blow job in a fantasy sequence of LITTLE GIRLS BLUE is to me a classic moment in the genre's history (I've watched that brief sequence in slow-mo many times).
That's basically the entire picture, watching each girl (and Ruberman/Leigh in tandem with another dirty old actor John Seeman) have sex. The combination of underage-looking women with prostitution is a sure-fire formula for success with porn's target audience, at least that segment not obsessed to the exclusion of all else with huge breasts. In a flashback, ma Heller also gets to strut her stuff in the sack.
Hoffman's beauty is showcased here and the veteran director Segall uses interesting photography including a spectacular wide-angle lens sequence shot from below distorting Hoffman's breasts artfully during a doggy-style-sex scene. Every sex scene has its own original song on the soundtrack (credited to prolific Lon John Productions) giving the film a distinctive quality.
One interesting wrinkle for me is that the film's mood, attitude and subtext reminded me a lot of the greatest soft-core picture of all time, THE ALL-American GIRL, indicating that had Segall teamed up with that film's unsung star Peggy Church then hardcore film history could have been made (assuming he twisted her arm to go all the way for a change).