6.8/10
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Sin in the Suburbs (1964)

Not Rated | | Drama | February 1964 (Japan)
After discovering that her mother is involved in an adulterous affair, a pretty high school student seeks help from a neighbor. While their trusting bond grows into a deep relationship, a ... See full summary »

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(as Joe Sarno)

Writer:

(screenplay) (as Joe Sarno)
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Cast

Complete credited cast:
Judy Young ...
Kathy Lewis (as Alice Linville)
W.B. Parker ...
Louis Muse
Audrey Campbell ...
Geraldine Lewis
...
Yvette Talman (as Lahna Monroe)
Marla Ellis ...
Lisa Francis
Richard Tatro ...
Roy Minton
Derek Crane ...
Scott Lewis
Ella Daphni ...
Peggy Thomas
Charles Clements ...
Cliff Haddison
Wayne Roberts ...
Jimmy Reed
John Aristedes ...
Tad Benton
William Donaldson ...
Larry Harket
Joseph Garri ...
Henry Francis
Mari Kiselle ...
Pam
Carla Conners ...
Teen Age Girl
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Storyline

After discovering that her mother is involved in an adulterous affair, a pretty high school student seeks help from a neighbor. While their trusting bond grows into a deep relationship, a secret sex club for the area's pleasure-seeking women is started. Soon, Mom discovers that her daughter is a member! Written by Stefan Nylen <red@defekt.cinemacabre>

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The whole scandalous story...shock by shock! See more »

Genres:

Drama

Certificate:

Not Rated
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February 1964 (Japan)  »

Also Known As:

Love in the Suburbs  »

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Featured in The Sarnos: A Life in Dirty Movies (2013) See more »

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User Reviews

 
Fictional anthropology
18 December 2004 | by (Seattle) – See all my reviews

With very limited resources at this disposal (the budget, shooting time, and acting talent were clearly in short supply), Sarno has combined a poor plot with an almost anthropological approach to encapsulating the fashions (hair and clothing) and the physical landscape of domestic split-level commuter suburbia (Long Island, perhaps?) in the mid-1960s.

The visual titillation is very minimal, alas, so this isn't much of a sexploitation treat, but it does serve as almost a work of cinema verite, brought about by lack of resources for depicting anything beyond recording that physical milieu directly and accurately.

There is also some attempt as social commentary -- everyone's house is the same, and all the breadwinners (male, of course) take the 7:21 train into the city and return on the 6:35, while their wives stay home and try to fend off boredom). Too bad that Sarno wasn't given enough resources to develop and capture a vision.

As it is, this is sort of a proto-indie movie, wherein the filmmaker was allowed some degree of personal expression within the straitjacket of the highly inhibited sexploitation genre of the era.

SiTS would have benefited from more flesh, and more fleshing out. A nice curiosity nevertheless.


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