Dir: Fred J. Lincoln
Cast: Blair Harris, Lisa Loring, Susan Nero,
Aaron Stuart, Hillary Summers, Lysa Thatcher
XXX, Approx: 74 Minutes
CLA DVD
IT'S ONLY A MOVIE...
IT'S ONLY A MOVIE...
IT'S ONLY A MOVIE...
IT'S ONLY A MOVIE...
the camera for this X-rated romp...
also introduced the world to genre legend David Hess (who can also be seen assaulting young women in such
charmers as House by the Edge of the Park and Hitch Hike). One thing Craven seems to have been left off the
hook for is kick starting the career of one most prolific and perverted icons in the adult film industry. Of course I’m
speaking of Fred Lincoln.
little harder for me to figure out is how he can consider some of his later work (Heidi Does Hollywood, Pussy
Tamer, Thighs Wide Open, and lest we forget Last Whore House on the Left) less damaging. I’m assuming he
can’t be too ashamed of his work if he’ll take screen credit on some of his movies as his 'Last House' baddie Weasel
(or Weazel) Padowski. I suppose it’s a good thing that he doesn’t consider 'Last House' a good time, I would worry
more about those who actually enjoy themselves watching it.
we take a look at one of his earliest forays into XXX direction with Daisy May:
audience before they’ve given it a fair shake. The finished product looks like a rough cut with sloppy editing, jarring
jump cuts, and sound that cuts in and out with warning. The editing is especially distracting when it jumps from sex
scene to sex scene creating a confusing chronology. There are continuity errors and repeated shots and dialogue
that should be embarrassing even when compared to other shoestring budget porn.
semblance of soft core sensibility that made Harry Novak’s country corn porn features like Tobacco Roody and
Southern Comforts so endearing. There is a feeble attempt at a story, but that is abandoned for the majority of
the run time in favor of frantic hillbilly sex scenes.
this new Lickity-Pooh Joy Juice will make women “hornier than a coyote in heat”. Coincidentally, there are two ladies
walking towards who just happen to be talking about how thirsty they are. Turns out he was right about the juice and
we launch into the opening credits imposed over the two having sex with him. We then meet the Colonel, who sets
the stage for the rest of the film. He has two objectives, one: marketing the Joy Juice and becoming rich, and two:
getting into the pants of a young lady named Daisy May.
near random sex scenes. Characters are introduced and are naked and advarking* before we even realized that we’
ve been introduced. After all of the characters copulate in just about every permutation I can think of, I’m left trying
to put some sort of story together. I think that it would be useful if someone could put together an illustrated (of
course) flow chart documenting the events of this movie.
the backwoods farm town of Pussypatch. His hired hands hand out free samples and even try a little themselves.
Before you know it everyone loses control and fornication runs rampant. While having sex with two of his
companions we gets on the horn and orders more of the Joy Juice to be shipped worldwide. With objective one
covered he pursues Daisy May in what has to be one of the easiest seductions in cinema history. While he’s giving it
to Daisy May he gets another phone call telling him that everyone all over the world has tried the Joy Juice and that
they’re all doing the horizontal hula* instead of watching television. He thinks this is fantastic news until the other guy
tells him he’s lost tons of money because he owns television (?!). Anyway, he runs off in a tizzy and Daisy May and
her boyfriend honor the “country code” of hospitality and have a sloppily edited orgy with the two girls from the
opening scene.
Lincoln pulls it together and it works. The energy and chaotic sense of spontaneity overcome the basic storytelling
flaws. Rarely have I seen a sex film where scenes don’t feel mapped out to the point of tedium. Daisy May finds its
main strength in genuine performances from the enthusiastic cast. This film hits the mark as a hardcore film that
should strike a chord with fans of mid seventies sexploitation.
BULLSHIT BLUES
catchy songs play repeatedly throughout. I find them legitimately entertaining and interesting; so much so that I
would be thrilled if I could ever track down a recording of them. The first song, Bullshit Blues – “Oh – Shit – I stepped
in it – I got it on my brand new shoes – There’s a smell you can’t forget – I believe I’ve got them bullshit blues” opens
and closes the movie and is impossible to get out of your head. The other one is a real curiosity as there are lengthy
spoken word verses before they sing “You know he’ll be annoyed – If he finds he’s unemployed – And he has to work
for peanuts once again” I wish I knew more information about these ditties.
and, Lysa Thatcher. This was also one of the first directorial attempts of Fred Lincoln. His fresh feeling niavity
shown here is far and away superior to his bland shot on video projects like Friday the 13th – A Nude Beginning.
review by Dr. Spector 11.25.2005
*with respect to Joe Bob Briggs
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