The 19th century. Todd (the passable and likable Kip Marsh) and Abilene (a decent portrayal by the lovely Sharon Matt) are two orphans growing up together on a farm who become sexually attracted to each other. Feeling guilty about his forbidden desires for Abilene, Todd runs away from home and falls for local barroom tramp Linda (a charming turn by buxom and fetching brunette Bambi Allen). After rough'n'scruffy cowboy Rawhide (a perfectly despicable Larry Martinelli) rapes Abilene, Todd vows to get revenge.
Despite the abundant tasty female nudity -- Matt in particular has a very nice slim body -- and such spot-on sleazy subject matter as incest, rape, voyeurism, and lesbianism, this film nonetheless proves to be a real chore to sit through due to the flat direction by legendary goremeister Herschell Gordon Lewis, sluggish pacing, a meandering narrative, and a 93 minute time running that that feels extremely drawn out and padded. Moreover, the sex scenes are rather tame and tepid, with Todd even keeping his pants on (!) while doing the deed with Abilene for the first time. On the plus side, the production values are acceptable, the location shooting at the notorious Spahn Ranch adds a sense of gritty authenticity, and the surprise bummer ending packs a startling punch. The static, but attractive cinematography by Lewis makes neat use of vibrant color. Larry Wellington's score boasts a few hilariously inappropriate jazz music cues. An okay diversion.
Despite the abundant tasty female nudity -- Matt in particular has a very nice slim body -- and such spot-on sleazy subject matter as incest, rape, voyeurism, and lesbianism, this film nonetheless proves to be a real chore to sit through due to the flat direction by legendary goremeister Herschell Gordon Lewis, sluggish pacing, a meandering narrative, and a 93 minute time running that that feels extremely drawn out and padded. Moreover, the sex scenes are rather tame and tepid, with Todd even keeping his pants on (!) while doing the deed with Abilene for the first time. On the plus side, the production values are acceptable, the location shooting at the notorious Spahn Ranch adds a sense of gritty authenticity, and the surprise bummer ending packs a startling punch. The static, but attractive cinematography by Lewis makes neat use of vibrant color. Larry Wellington's score boasts a few hilariously inappropriate jazz music cues. An okay diversion.