In her singular, memorable feature film appearance, Marlon infuses the role of the longing secretary with real vulnerability.
However, the film's most caustic review, by "Nodriesrespect" on IMDb, pulls no punches in cataloging its perceived failures. The reviewer notes that the film's unique selling point—the protagonist's mannequin relationship—fizzles out disappointingly, noting, "Exhibiting impressive production values, highlighted by Horulu's own capable camera work, the flick occasionally overcomes the sheer ridiculousness of its twisted narrative with some creatively crafted carnal encounters". The reviewer also highlighted the "unbelievably florid voice-over monologues swamping the half-baked screenplay," lamenting that the script was "written by Kenneth Schwartz, best known for producing... but his writing would have made even Ed Wood blush". Virgin and the Lover -1973- Classic- Feature- D...
This public link is valid for 7 days and shares a thread, including any personal information you added. This link or copies made by others cannot be deleted. If you share with third parties, their policies apply. Can’t copy the link right now. Try again later. Virgin and the Lover (1973) - IMDb In her singular, memorable feature film appearance, Marlon
Authored the script focusing heavily on psychological trauma, delusion, and therapy. This link or copies made by others cannot be deleted
The film features several prominent stars of early 1970s adult cinema: Virgin and the Lover (1973) - IMDb
This main plot serves as a frame for several digressive "sexploitation" vignettes. As a filmmaker, Paul is shown editing a film-within-the-film, titled "Two Women," which explores lesbianism in an attempt to mirror his own latent psychological hang-ups. This leads to an on-screen liaison between 1970s adult stars Jennifer Welles and Darby Lloyd Rains, who "strictly simulate Sapphic splendor." The rest of the runtime is filled with friends and strangers engaging in their own sensual adventures, including a threesome with an aggressively expressionless Marc Stevens, which adds to the film's freewheeling, party-like atmosphere. In a final, suitably absurd twist, the film concludes with the psychiatrist himself falling in love with his own mannequin.