I praise Something Weird for dredging up oddities -the late Mike Vraney did an estimable job in the Henri Langlois tradition of not discriminating against "low art" or even non-art in choosing what to preserve. ONE NAKED NIGHT from the early '60s offers little of interest, apart from cult favorite Audrey Campbell in a supporting role.
Cornball story of innocent girl heading to the Big Apple and encountering tawdriness and sleaze there was handled far better in a score of films, notably the often dismissed work of Barry Mahon. Director Albert T. Viola was a NYC flunky best known for his campy PREACHERMAN vehicles, but I have found little to like in his attempts at seriousness (within a then-soft porno format) like this one and another Campbell movie A WOMAN IN LOVE.
Film's principal drawback is that it avoids much nudity (only providing tantalizing glimpses) or other provocative content that might have proved satisfying to fans who paid their bucks at the local Adult cinema circa 1963. It's far from good enough to pass muster as a real movie, so failing to arouse one's prurient interests is beneath reproach.
Barbara Morris is the heroine Candy, leaving her hick town by train for NYC. Her busty friend Laura, played by Sally Lane, very briefly steals the show by baring her breasts in a mirror, and roommate Barbara (played by Audrey Campbell) with a sexy voice also attracts a attention and is retrospectively the movie's only drawing card.
But the storyline is dull, with the usual romances, disappointments in finding suitable employment and other clichés of the genre trotted out to kill time. Campbell says: "they're all as dull as death or rotten", to describe men but adequately summing up this type of picture.
A "wild party" scene replete with striptease, stag movie projection (not shown) is shot MOS and a total flop, with revelers keeping their clothes on. Heroine Candy wakes up flanked by sleeping bodies, and tearfully goes to the mirror, voicing over "You're dirty!". She can't stand this life of shame, heading out on the terrace with thoughts of suicide, when stalwart Joseph Sutherin arrives at the last moment to save her. Trick ending of him failing probably turned Viola on at story meetings, but is ridiculously bad. It reduces this prehistoric porn film to the level of those later 1-day wonders where the filmmakers would cynically have the story or characters self-destruct for a "shock" finish, nihilism at a kindergarten level.
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