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Cast

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

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Do you want one of the four on the floor?

Genres:

Drama

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Release Date:

31 December 1969 (USA)  »

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Trivia

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 »

Goofs

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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