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Credited cast:
Ron Babin ...
Priscilla Crisp ...
Kamla ...
Tomba Kamla
Suzzan Landau ...
Kim Lewid ...
Partygoer (as Kim Cash)
Red Pisces ...
Frederick Douglas Roth ...
Camp Stevens ...


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Release Date:

31 December 1969 (USA)  »

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Did You Know?


The film ends comically (and cheaply) with the old saw of a sound effect for a car crash, as "The End" title card shakes & wobbles from the impact, implying a violent ending that is not shown. See more »


During the opening sequence, in the the close-up shot of the rotating wheel representing the car on the open road, a cabinet of Anco replacement windshield-wiper blades can be clearly seen reflected in the chrome Jaguar cap. See more »

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User Reviews

Mediocre porn loop stretched to feature length
24 May 2010 | by (New York, New York) – See all my reviews

Of zero interest to anyone but a film antiquarian, Four on the Floor is a wall-to-wall sex film from the late softcore era. Some driving around footage, with heroine Priscilla at the wheel of her Jaguar XK-E convertible, accounts for its title. The idiot self-appointed "film historian" who wrote the liner notes for SWV has a mind so limited to sex, he couldn't even figure out the automotive reference of the title!

Primitive film-making is stalled here back in the Silent Era: no sound recording; one line of looped dialog for Priscilla, and much of the action "explained" in inter titles, just like they did back in the '20s. Priscilla goes to a couple of swinging parties, hooks up with her tardy boyfriend Red, and as one inter title reads: "Priscilla splits". She's driving the sporty car at the finale when the sound effect of a car crash (familiar from its comical use by various AM rock & roll deejays of my youth) implies a bad end.

Despite femmes dancing around sporting full-frontal nudity, sex here is tame and repetitive, with the guys always keeping their underpants on. Times Square theater marquees oddly display two 1968 Argentine imports: Unsatisfied Love and The Female, as well as Box Lunch, last-named too obscure for even IMDb inclusion.

Strangest thing is that the principal credits all appear to be pseudonyms, but music is credited to a roster of real-life '60s British composers. This is perhaps the only case of carefully crediting library music to its actual composers I've ever encountered with a porn film.

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