One of the finest if most underrated filmmakers operating within the similar though strictly segregated twin fields of sexploitation and hardcore pornography, the late Gary Graver a/k/a "Robert McCallum" on explicit endeavors would occasionally revamp one of his old screenplays when stumped for inspiration. Henceforth, his 1970 simulated sex classic SANDRA, THE MAKING OF A WOMAN, starring the magnificent Monica Gayle, begot the lavish 1994 full color penetration epic EROTIKA with the only marginally less impressive Samantha Strong. His relatively obscure 1973 AND WHEN SHE WAS BAD a/k/a THE STEPDAUGHTER must have been particularly dear to his heart as he chose to revisit the material not once but twice. The original, a prime candidate for a DVD rescue operation from oblivion if ever there was, starred such skin flick royalty as the much missed John Alderman a/k/a "Frank Hollowell" – the finest character actor bar none the genre has ever known – and Sandy Carey, along with elusive starlets Lyllah Torena from Christopher Odin's endearingly ramshackle BOOB TUBE and Heather Vale, one of Stu Segall's SADDLE TRAMP WOMEN. Two decades later, the story resurfaced as the above average cable staple ANGEL EYES with an equally impressive yet wildly unlikely cast including Monique Gabrielle, porno starlet Raven (billed as "Rachel Vickers"), John Philip Law (a long way from Mario Bava's DANGER : DIABOLIK if not Roger Vadim's BARBARELLA) and
Erik Estrada ?! Inbetween those bookend interpretations, Graver also did this somewhat compromised hardcore version.
Shot in 1986 but only released the following year, DOLL FACE arrived at the end of the line for the theatrical division of the dirty movie industry now that VCR prices had dropped to a level that made them affordable to the average American household. We're all familiar with the immediate consequences of this questionable evolution. To compete with cheap shot on video features, budgets for 35mm productions had to be reduced to a fraction of what they were but half a decade before. Fortunately, Graver proved a more resourceful filmmaker than most of his carnal com-padres. A respected DoP since the '60s and used to laboring under financially strenuous circumstances, his employers ranging after all from Orson Welles to Al Adamson, he practically invented poise under pressure, carefully staging and lighting each set-up with a minimum of fuss for clean but compelling compositions. It's precisely this talent for creating mood through the seemingly simplest of means that saves the day here. Restrained use of locations, establishing shots of the San Francisco skyline notwithstanding, clearly suggest a cut-rate production.
Troubled teen Sharon (wide-eyed cult favorite Sandy Summers whose most high profile work was in Edwin Brown's 1001 EROTIC NIGHTS PART II and Jack Remy's HAREM GIRLS) lies awake at night while her stripper mom (a ludicrously cast Nina Hartley, barely in her mid-20s !) takes care of step-dad Ken, rather more plausibly portrayed by seasoned veteran Eric Edwards. Four years later, now divorced Ken receives word from the girl that she's coming to stay with him as the situation at home has become unbearable. This does not sit well with live-in girlfriend Rita, played with more dedication than actual ability by pretty Maggie – sometimes Liz – Randall, a usually underwhelming starlet who was okay in Graver's overlooked RATED SEX, appeared in orgy action in Greg Dark's heavily hyped DEVIL IN MISS JONES 4 and delivered what was perhaps her overall best performance in Remy's hugely enjoyable IN SEARCH OF THE GOLDEN BONE.
Cruising the city for kicks, Sharon wanders into the Club Dementia, watching and eventually partaking in a sleazy live show featuring Lili Marlene and "Jason Powell" a/k/a Jason Jules, one of Vanessa Del Rio's gang bang guys from Dark's DEVIL IN MISS JONES 3 and Hartley's penetration partner in Duck Dumont's underrated PLEASURE MAZE. Obviously infatuated with her former stepfather, Sharon seduces Rita when a shocked Ken spurns her none too subtle overtures. As the couple takes off on an impromptu trip to Reno to take off the pressure, Ken learns of Sharon's stint as a mental patient. Left to her own devices, she opens the door to a devout bible salesman, played to perfection by a very funny Joey Silvera. This is where the movie diverts most radically from both other adaptations which ended in violence. On legally shaky ground at this moment in time, this was not an option for the adult industry. Rather than feel like a major pulled punch however, the wisely wordless final sequence leaves room for interpretation, adding another layer of meaning to the material.
Rushed production makes itself felt in shaky acting. Summers looks the part and is absolutely remarkable in quiet moments. Her dialog delivery could have done with another rehearsal or two however. Stalwart Silvera brings out the best in her in a scene which careens from heartbreaking to hilarious, and back again. Good thing Edwards and Hartley can do it for themselves. Nina makes the most of too scant screen time with a gratuitous but great scorcher with all purpose stud Don Fernando. Editing's choppy and the music by Alan Jackson (presumably not the subsequent Country & Western singing sensation) is beyond cheesy. Absolutely love the corny theme song though, warbled in a demented female falsetto and containing the unforgettable line : "I know love will come in time, filling up the storybook pages in my mind !"
Shot in 1986 but only released the following year, DOLL FACE arrived at the end of the line for the theatrical division of the dirty movie industry now that VCR prices had dropped to a level that made them affordable to the average American household. We're all familiar with the immediate consequences of this questionable evolution. To compete with cheap shot on video features, budgets for 35mm productions had to be reduced to a fraction of what they were but half a decade before. Fortunately, Graver proved a more resourceful filmmaker than most of his carnal com-padres. A respected DoP since the '60s and used to laboring under financially strenuous circumstances, his employers ranging after all from Orson Welles to Al Adamson, he practically invented poise under pressure, carefully staging and lighting each set-up with a minimum of fuss for clean but compelling compositions. It's precisely this talent for creating mood through the seemingly simplest of means that saves the day here. Restrained use of locations, establishing shots of the San Francisco skyline notwithstanding, clearly suggest a cut-rate production.
Troubled teen Sharon (wide-eyed cult favorite Sandy Summers whose most high profile work was in Edwin Brown's 1001 EROTIC NIGHTS PART II and Jack Remy's HAREM GIRLS) lies awake at night while her stripper mom (a ludicrously cast Nina Hartley, barely in her mid-20s !) takes care of step-dad Ken, rather more plausibly portrayed by seasoned veteran Eric Edwards. Four years later, now divorced Ken receives word from the girl that she's coming to stay with him as the situation at home has become unbearable. This does not sit well with live-in girlfriend Rita, played with more dedication than actual ability by pretty Maggie – sometimes Liz – Randall, a usually underwhelming starlet who was okay in Graver's overlooked RATED SEX, appeared in orgy action in Greg Dark's heavily hyped DEVIL IN MISS JONES 4 and delivered what was perhaps her overall best performance in Remy's hugely enjoyable IN SEARCH OF THE GOLDEN BONE.
Cruising the city for kicks, Sharon wanders into the Club Dementia, watching and eventually partaking in a sleazy live show featuring Lili Marlene and "Jason Powell" a/k/a Jason Jules, one of Vanessa Del Rio's gang bang guys from Dark's DEVIL IN MISS JONES 3 and Hartley's penetration partner in Duck Dumont's underrated PLEASURE MAZE. Obviously infatuated with her former stepfather, Sharon seduces Rita when a shocked Ken spurns her none too subtle overtures. As the couple takes off on an impromptu trip to Reno to take off the pressure, Ken learns of Sharon's stint as a mental patient. Left to her own devices, she opens the door to a devout bible salesman, played to perfection by a very funny Joey Silvera. This is where the movie diverts most radically from both other adaptations which ended in violence. On legally shaky ground at this moment in time, this was not an option for the adult industry. Rather than feel like a major pulled punch however, the wisely wordless final sequence leaves room for interpretation, adding another layer of meaning to the material.
Rushed production makes itself felt in shaky acting. Summers looks the part and is absolutely remarkable in quiet moments. Her dialog delivery could have done with another rehearsal or two however. Stalwart Silvera brings out the best in her in a scene which careens from heartbreaking to hilarious, and back again. Good thing Edwards and Hartley can do it for themselves. Nina makes the most of too scant screen time with a gratuitous but great scorcher with all purpose stud Don Fernando. Editing's choppy and the music by Alan Jackson (presumably not the subsequent Country & Western singing sensation) is beyond cheesy. Absolutely love the corny theme song though, warbled in a demented female falsetto and containing the unforgettable line : "I know love will come in time, filling up the storybook pages in my mind !"