Suzanne Fields is a rediscovered and much beloved porn starlet from the Golden Age who cranked out a lot of films without distinction, making her nearly-mainstream starring role in FLESH GORDON stand out. VERA is one of her least-known programmers, but an impressive showcase for her.
That's because the film is told to the camera first-person by Suzanne, developing an intimacy that is rewarding. It's analogous to the bond created between Rene Bond and the viewer in her TEENAGE FANTASIES outing.
As Vera she recalls her first sexual experience at age 15 with boyfriend Leroy, naturally illustrated in a revealing flashback. Suzanne can play any (young) age convincingly, but Leroy looks way too old for the part and though the color-fading and generally poor quality of the print preserved for the ABA DVD make identification difficult it looks like he's wearing a large white bandage on his testicles!
Second segment has Suzanne as voyeur, observing her parents having sex. This being porn, they enjoy having her watch and soon have her join in for an incestuous threesome. I was surprised at how "normal" this is presented, as if she had come into their bedroom to deliver a ham sandwich: "thank you, dear". Such is the ethos of porn.
A school sorority dance at Vera's home cues a very sloppy, lengthy orgy segment that is poorly filmed with lazy, real-time camera work. The major diversion here was one sister with a big bust who looks like a direct forerunner of current porn star Olivia O'Lovely, some 30 years earlier, played by Nora Wieternik, Fields' FLESH GORDON costar.
Next segment is sheer filler, as Vera recalls her sister deflowered by her boyfriend, an ugly bit of poor photography for sixty-nine and more.
Film ends in a very strange, unintentional manner. Suzanne/Vera says goodbye to the viewer, sexily feels herself up and looks magnificently alluring, but the director forgets to edit the take properly and for the last few seconds we see Suzanne go out of character thinking the take is over -she becomes limp and bored out of her gourd - ready to yell: "hey, where's craft service around this set?". The crushing of the carefully built up (by her) cinematic illusion was really shocking to me, and one of the many found treasures a film archaeologist can find only near the bottom of the barrel. Any merely minimally competent film editor would have spliced this footage properly, but not in pornland.
That's because the film is told to the camera first-person by Suzanne, developing an intimacy that is rewarding. It's analogous to the bond created between Rene Bond and the viewer in her TEENAGE FANTASIES outing.
As Vera she recalls her first sexual experience at age 15 with boyfriend Leroy, naturally illustrated in a revealing flashback. Suzanne can play any (young) age convincingly, but Leroy looks way too old for the part and though the color-fading and generally poor quality of the print preserved for the ABA DVD make identification difficult it looks like he's wearing a large white bandage on his testicles!
Second segment has Suzanne as voyeur, observing her parents having sex. This being porn, they enjoy having her watch and soon have her join in for an incestuous threesome. I was surprised at how "normal" this is presented, as if she had come into their bedroom to deliver a ham sandwich: "thank you, dear". Such is the ethos of porn.
A school sorority dance at Vera's home cues a very sloppy, lengthy orgy segment that is poorly filmed with lazy, real-time camera work. The major diversion here was one sister with a big bust who looks like a direct forerunner of current porn star Olivia O'Lovely, some 30 years earlier, played by Nora Wieternik, Fields' FLESH GORDON costar.
Next segment is sheer filler, as Vera recalls her sister deflowered by her boyfriend, an ugly bit of poor photography for sixty-nine and more.
Film ends in a very strange, unintentional manner. Suzanne/Vera says goodbye to the viewer, sexily feels herself up and looks magnificently alluring, but the director forgets to edit the take properly and for the last few seconds we see Suzanne go out of character thinking the take is over -she becomes limp and bored out of her gourd - ready to yell: "hey, where's craft service around this set?". The crushing of the carefully built up (by her) cinematic illusion was really shocking to me, and one of the many found treasures a film archaeologist can find only near the bottom of the barrel. Any merely minimally competent film editor would have spliced this footage properly, but not in pornland.