Bizarre is certainly right. How else to describe this curious hybrid of two thirds silly sex farce with a violent rape climax, yet another product of the fertile mind of dear depraved Shaun Costello (or possibly his erstwhile protégé Ron Dorfman), generally credited on this one as "Harry Gordon".
Frizzy-haired brunette Claudia (whose surname switches from Pennington to Zeffirelli by film's end, played by Erica Havens who was in Costello's endearing DIRTY SUSAN) and her large-breasted friend Velocity (Marcia Minor a/k/a "Michele Lake", an under the radar porn starlet who also turned up in Carter Stevens' HONEYMOON HAVEN and the late Roger Watkins' vastly underrated PINK LADIES) run a plaster caster shop in the Village. Business is slow until one day movie star Robert Bedford ("Buddy" from Costello's STORY OF ELOISE) wanders in, requesting the ladies to mold a rubber replica of his massive manhood ! Star-struck Claudia immediately drops to her knees so she can get him to stand to attention in what's by far the flick's most arousing encounter, nicely shot with back lighting and some cute appropriate songs (a deep voice chanting "Mr. Mojo Rising" which then segues into a joyous "Let the Good Times Roll" once the guy's up and running) punctuating the copulation.
As usual, the music is quite interesting all by itself and key to determine Costello's involvement since he's uncharacteristically absent from the performer ranks. An entirely dialog-free non-sex scene involving Velocity and Bedford's fellow Hollywood celeb Clint Westwood (John Leslie) is scored with the BORSALINO theme Costello also used in SLAVE OF PLEASURE. Along the way, Randy Newman's "Lonely at the Top" also makes a surprise appearance.
Both Bedford and Westwood are in for a rude awakening when the girls decide to reproduce their members for mass consumption, blackmailing the million dollar superstars into performing gigolo duties for lonely but generous housewives. Bob winds up with plain but eager Betty (Liz Rakey, also in Chuck Vincent's VISIONS) and her camera-wielding husband (stalwart Michael Thorpe, bit part stud stuff from Vincent's BAD PENNY and Costello's big budget Fiona ON FIRE) who gets the best line as he swoons during wifey's oral administrations : "You're so good, my darling, I'll cook dinner tonight !" This scene culminates in a well-captured double penetration. Westwood gets the tougher assignment of having to please obnoxious Mrs. Vandermeer, played to the hilt by Marlene Willoughby who manages to construct an entire character out of that shock of black unruly manes, her sparse attire of fur coat, stockings and stilettos plus her unique back catalog of withering glances. Humor decidedly takes precedence over heat here, Willoughby's sarcasm dominating her threesome with Leslie and Velocity.
Fed up with the women's nefarious doings, the actors hire a black private eye to rough 'em up just as they're about to leave for Jamaica with the fortune they've made from their scheme. A lengthy bloody whipping of the strung-up, crying and pleading girls is followed by extensive if rather less credible coercion once the male characters start taking fairly half-hearted liberties. A voice-over (definitely Costello's) relates the women's eventual faith after they'd been turned over to the police.
Frizzy-haired brunette Claudia (whose surname switches from Pennington to Zeffirelli by film's end, played by Erica Havens who was in Costello's endearing DIRTY SUSAN) and her large-breasted friend Velocity (Marcia Minor a/k/a "Michele Lake", an under the radar porn starlet who also turned up in Carter Stevens' HONEYMOON HAVEN and the late Roger Watkins' vastly underrated PINK LADIES) run a plaster caster shop in the Village. Business is slow until one day movie star Robert Bedford ("Buddy" from Costello's STORY OF ELOISE) wanders in, requesting the ladies to mold a rubber replica of his massive manhood ! Star-struck Claudia immediately drops to her knees so she can get him to stand to attention in what's by far the flick's most arousing encounter, nicely shot with back lighting and some cute appropriate songs (a deep voice chanting "Mr. Mojo Rising" which then segues into a joyous "Let the Good Times Roll" once the guy's up and running) punctuating the copulation.
As usual, the music is quite interesting all by itself and key to determine Costello's involvement since he's uncharacteristically absent from the performer ranks. An entirely dialog-free non-sex scene involving Velocity and Bedford's fellow Hollywood celeb Clint Westwood (John Leslie) is scored with the BORSALINO theme Costello also used in SLAVE OF PLEASURE. Along the way, Randy Newman's "Lonely at the Top" also makes a surprise appearance.
Both Bedford and Westwood are in for a rude awakening when the girls decide to reproduce their members for mass consumption, blackmailing the million dollar superstars into performing gigolo duties for lonely but generous housewives. Bob winds up with plain but eager Betty (Liz Rakey, also in Chuck Vincent's VISIONS) and her camera-wielding husband (stalwart Michael Thorpe, bit part stud stuff from Vincent's BAD PENNY and Costello's big budget Fiona ON FIRE) who gets the best line as he swoons during wifey's oral administrations : "You're so good, my darling, I'll cook dinner tonight !" This scene culminates in a well-captured double penetration. Westwood gets the tougher assignment of having to please obnoxious Mrs. Vandermeer, played to the hilt by Marlene Willoughby who manages to construct an entire character out of that shock of black unruly manes, her sparse attire of fur coat, stockings and stilettos plus her unique back catalog of withering glances. Humor decidedly takes precedence over heat here, Willoughby's sarcasm dominating her threesome with Leslie and Velocity.
Fed up with the women's nefarious doings, the actors hire a black private eye to rough 'em up just as they're about to leave for Jamaica with the fortune they've made from their scheme. A lengthy bloody whipping of the strung-up, crying and pleading girls is followed by extensive if rather less credible coercion once the male characters start taking fairly half-hearted liberties. A voice-over (definitely Costello's) relates the women's eventual faith after they'd been turned over to the police.