Tony Vorno, a very minor actor in soft porn (I recently caught him in SWEET TRASH where his role lasted just five seconds), pulled a fast one with COME ONE, COME ALL, writing, producing, directing and starring in a failed black comedy. It's an embarrassing display.
The opening title reads: "The events depicted in this flick are freaky and any similarity to actual bods living or dead is purely transcendental". Unfortunately the movie's quotient of wit ends there.
Opening set-piece is an open-casket funeral, with cute women in miniskirts crowding around the deceased. Scene turns to farce as the women toss their panties into the casket and there's even full frontal nudity as a party rock song plays.
Michael Delaney (Henry Dillon) tells the life story of the dead man, Sebastian Gregory, which is also the stage name Vorno uses. His misadventures in Hollywood aren't very interesting or funny, merely the hook for some genre nudity and weak gags. He visits a couple of talent agents, the first a gay stereotype and the second a woman named Blossom who is merely the first guy in drag.
After a SUNSET BLVD. styled ride in an old lady's limo, he becomes a gigolo, and amidst standard slapstick the movie devolves into musical beds, less Feydeau and more porn. To pull this off one would require a handsome, charismatic leading man -a porno George Clooney (or in the hardcore era, John Leslie for example), but Vorno is more of a minor gangster type in the manner of Charles McGraw.
Ultimately we have a one-joke sex comedy: many skits in which we wonder how can he service so many women? A couple of the women standout, notably Monica (Luanne Roberts) and Louise (Diane Lamport), but too much Vorno spoils the froth. After this endless flashback the film's comedy ending is really stupid: his hard-on in the casket is the "He's alive!" signal and the denouement is just as unfunny.
A location scene where we see a poster up for Nicol Williamson in Tony Richardson's film of HAMLET pegs the movie as having been shot early in 1970.
The opening title reads: "The events depicted in this flick are freaky and any similarity to actual bods living or dead is purely transcendental". Unfortunately the movie's quotient of wit ends there.
Opening set-piece is an open-casket funeral, with cute women in miniskirts crowding around the deceased. Scene turns to farce as the women toss their panties into the casket and there's even full frontal nudity as a party rock song plays.
Michael Delaney (Henry Dillon) tells the life story of the dead man, Sebastian Gregory, which is also the stage name Vorno uses. His misadventures in Hollywood aren't very interesting or funny, merely the hook for some genre nudity and weak gags. He visits a couple of talent agents, the first a gay stereotype and the second a woman named Blossom who is merely the first guy in drag.
After a SUNSET BLVD. styled ride in an old lady's limo, he becomes a gigolo, and amidst standard slapstick the movie devolves into musical beds, less Feydeau and more porn. To pull this off one would require a handsome, charismatic leading man -a porno George Clooney (or in the hardcore era, John Leslie for example), but Vorno is more of a minor gangster type in the manner of Charles McGraw.
Ultimately we have a one-joke sex comedy: many skits in which we wonder how can he service so many women? A couple of the women standout, notably Monica (Luanne Roberts) and Louise (Diane Lamport), but too much Vorno spoils the froth. After this endless flashback the film's comedy ending is really stupid: his hard-on in the casket is the "He's alive!" signal and the denouement is just as unfunny.
A location scene where we see a poster up for Nicol Williamson in Tony Richardson's film of HAMLET pegs the movie as having been shot early in 1970.
