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Betty Anne Rees
Not quite thirty minutes into this film, it's clear that neither good storytelling nor funny comedy were foremost in the film-makers' minds. As one might expect from a film in which two thirds of the lead actresses were former Playmates of the Year, the point here is T&A; no doubt about it. Needless to say, all three leads (Vetri, Jennings, Eccles) provide that abundantly.
Unfortunately, the only "actor" in this film who can actually act is Victoria Vetri. Saddled with a poorly written character and a few minutes' worth of bare breasts (undeniably enjoyable to watch, that; but not the stuff that respectable acting careers are made of) Vetri somehow makes the best of the role and her character does come to life. One of her last scenes, in which she is distraught and tearful, is a fine piece of acting by any standards... more than the script deserves. Claudia Jennings and Aimee Eccles don't fare so well. Also saddled with lifeless roles and a few more nude scenes, they each deliver their lines as if they were reading them from teleprompters: with complete lack of emotion, exactly what one would expect from a film of GROUP MARRIAGE's class. The three male leads are no better. They may as well have been played by cardboard cut-outs.
The picture's screenplay is, in all respects, typical of an exploitation film's. Chemistry between leads, snappy and/or humorous dialogue, deft comic timing? Nada. A liberal social message ("communes are okay and should be legal!") is in there, but it's presented ineloquently and is frequently lost in the barrage of skin and poor comedy. Besides, are we actually expected to take seriously the message of a film that spends more time doting over the snugly-clad busts of its actresses than showcasing coherent dialogue and/or comedy?
All in all, the picture is only worth finding if you're a rabid fan of Vetri, Jennings, or comedy that consistently falls flat on its face.
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