Victoria Principal stars in three gripping tales of obsessive love, portraying three different women who find there is a price to pay when passion, desire and love are taken to the extreme....
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A woman who's been having an affair with a married man who's been taking care of her. When he dies she finds herself with nothing. So she tries to rebuild her life but not without the stigma of being a kept woman following her.
It's the 60s and a bunch of crazy teenagers meet in the beautiful island of Hawaii during their summer holidays. Although they come from different backgrounds, they hang out together and ... See full summary »
Tommy Lee Wallace
Don Michael Paul
Victoria Principal stars in three gripping tales of obsessive love, portraying three different women who find there is a price to pay when passion, desire and love are taken to the extreme. In the three tales, she is seduced into a deadly love triangle, uncovering her husband's deadly obsession, and dealing with an innocent computer correspondence that becomes an obsessive, erotic love affair. Written by
Victoria Principal executive produces, where she plays 4 roles in 3 stories of love.
In Temptation aka Fallguy, she is Joan, a strawberry-blonde femme fatale in a 1950's potboiler, where she uses a fall guy to dispose of her gangster husband. In Sacrifice aka Sacrifice for Love, she is Lisa, a brunette Lee Krasner-type wife of a 1930's painter, whose efforts to make her husband a success, ironically result in her own death. And in Ecstasy aka The Two of Us, the only contemporary tale, she is both red-headed prim English-accented Patricia, and her imagined uninhibited twin sister Sylvia, who temps Patricia's husband, in a roleplay created to add spice to their sex life. In each tale Principal co-stars with John Terry.
Although the two period pieces are unflattering to her, Principal is particularly unconvincing suffering as Lisa, since she cannot supply the depth of emotion required. She is much better when she plays an agenda.
The teleplays by Barry Brown, Robert Glass and Steven Whitney are based on magazine stories by Henry Slesar and a radio show by Himan Brown, and have the kind of plot twists that are associated with anthology series like The Twilight Zone. The treatments are brief, if uninspired, with dialogue on the level of `I don't know if I'm coming or going. I know which one I prefer'.
Although promoted as erotic thrillers, director Michael Ray Rhodes doesn't expose Principal's body, with orange lighting for Temptation, and repeated use of the phallic symbolism of long-stemmed wine glasses in Ecstasy.
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