not for the more discriminating, nor does it cheat the less discriminating, for whom it was conceived. Foregoing judgment or knowledge of any sector of its audience appeal, the film is not in itself unhealthy.
It has been produced with technical proficiency, adequate performances, beautiful if somewhat overly professional bodies, and restraint against taking itself too seriously. Eve Meyer was executive producer, Russ Meyer produced, directed, photographed, co-edited and wrote the story on which Richard Zachary's screenplay is based. It is a well-made entry for the androgen auditoriums. and will be a profitable venture, as planned.
The story centers on the dalliance of Paul Lockwood, owner of a topless tavern, on a single, highly climactic evening. Lured to the establishment of Lavelle Roby to sample the arts of new recruit Jan Sinclair, he returns home drunk and disorderly to be greeted by the usual rebuke from his wife, Anne Chapman, an overdeveloped young woman who holds her eyes in a perpetual upward gaze, like a plastic madonna.
When he has his way with her, you know, she takes off, literally, for the club to replace a defecting go-go dancer and succumbs to the overtures of barkeep Gordon Wescourt. Thus, the triangle gets involved in a robbery attempt by Duncan McLeod and Robert Rudelson, who have been waiting in the men's room for the pub to close and the rutting to subside.
The production, almost exclusively interior, is slick and Meyer employs contemporary tilts and fast inter-cuts of memory in keeping with current film fashion. For those who do not attend for routine plotting and workmanlike delineation, there are protracted camera studies of bobbing bosoms and derrieres in revealing yet attractive costumes by Herberté. The Eastmancolor cinematography by Meyer processed by Perfect Labs, is suitably garish. Other technical credits are quite professional.
Igo Kantor's score makes use of interludes from the recorded classics. One sexual encounter, intercut with diffused eruptions of the Music Center fountains, is played against 'A Mighty Fortress Is Our Cod" The 18th Rachmaninoff-Paganini variation is used as the prelude love theme for Miss Roby. The original connective passages are dramatically sound.
McLeod and Lockwood take whatever performance honors there are with believable involvement in the skeletal plot, while Wescourt adds a natural, comic touch to his role as the good-natured interloper. Miss Roby moves with feline grace and handles her role capably while Miss Chapman tends to be posey when she isn't taking it off and tossing it about.