SoftInloveRox Horrible, fascist and poorly acted

Bluebell Alcock Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

Jakoba True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Isbel A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

olp-15-614389 Any movie the title of which has a person's name followed by "is Back in Town" means that wrong was done to owner of said name and said owner has returned to extract revenge. Except in this one the title character was wronger, not the wrongee, and deserved to get the boot. Abigail (Jennifer Jordan) was a sex hound whose crime was bedding down with one guy too many—the husband (Jamie Gillis) of the beautiful but tightly wound Priscilla (Rebecca Brooke). Now she's back, the town tramp, whose quest is to prove to everybody who drummed her out of town (they're all high school buddies from about seven years ago) that they were/still are as sex-mad as she was/still is and place as little value on sexual propriety as she did/still does. Boy, does she do a bang-up job of it. First she lures in the ladies, one at a time and then in group gropes. Next come the guys, again one at a time, then mixing and matching with the ladies here and there until there should be uniform numbers and a scorecard to keep track of it all. Naked bodies everywhere, brightly lit, clearly displayed, much of it likely performed in hardcore but filmed in softcore.No one is going to win any acting awards for the film, though Eric Edwards, as the lovable but somewhat dim Chester (Chester? Who makes a movie with a character named Chester in it?) tries his hardest. Jennifer Welles appears as Aunt Drucilla (no, she's not a vampire) bent on loosening up her niece Prissy—"I'd be happy to loan you Bo (Sonny Landham). He'd be happy, too." Bo comes over later and Priscilla tries, but she just can't bring herself to cheat on, of all people, Jamie Gillis. Wow.Well, Prissy finally goes to see Abigail for some sex counseling and gets it in the form of top-notch oral sex in which Brooke chews up the scenery with her over-reaction to what must be the first orgasm of her life. Best to watch this scene with the sound turned off. A few orgies later she is courageous enough to propose running away from Bayport with her one true love—Chester. In the final shot, the happy couple walks through the sand toward the surf and you keep expecting them to make a left turn, but no, they keep walking straight toward the ocean and, who knows, maybe they're going to walk right in and just keep walking. One note about Bayport. It's really Amityville, New York, director Joseph Sarno's hometown. The horror house in not shown in this film, but several scenes were shot adjacent to it. This was four years before the James Brolin film came out.Of course this movie is not just about naked people. There is a social message, which is, who are we to judge the horniness of others when we are just as horny as the ones we condemn and would act on it if given half a chance? Maybe even a quarter of a chance. Just who are we? At least I think that's the message. Another message is that if you have a camera and a passable script you can get lots of people to take off their clothes for you and watch them have sex with each other. No fool, our director.

Dries Vermeulen A mere couple of weeks ago, filmmaker Joe Sarno passed away, leaving behind a legacy of accomplished adult efforts on both sides of the explicit fence. Sex was more means to an end than goal in itself for him, providing another layer of characterization. The French, who take their grind-house fare more seriously than anyone else, deeming it worthy of the same critical analysis as the works of Godard, consider him seedy cinema's answer to Ingmar Bergman ! Reeking more of unneeded intellectual excuse for lofty film fans to get down 'n' dirty than a proper appraisal of Sarno's achievements, such monikers merely look good on paper. Simple truth of the matter is that he was an excellent director, in a measure not just limited to the "adults only" universe though his eventual output puts him smack dab in the middle of it. Like Claude Chabrol, to whom he could be much more fruitfully compared if such need be, his focus was firmly on the hypocrisy stifling the middle class from doing the things they wanted, but foregoing his customary distancing cynicism.Credit Something Weird's Mike Vraney for first reviving interest in Sarno's body of work, unearthing believed to be lost '60s features like SIN IN THE SUBURBS and THE SWAP AND HOW THEY MAKE IT for new generations of trash cinema enthusiasts on video and subsequently DVD. When fans go gaga, the mainstream sooner or later takes notice, making Sarno one of the few disreputable directors to achieve a modicum of "real world" appreciation within his lifetime. In recent years, this begrudging acknowledgment has extended to include his simulated skin flicks shot both home and abroad in Scandinavia during the first half of the '70s but still fails to assess the excesses he was to commit later on, mostly as Karl or Erik Andersson. Now that French TV's culture channel Arte has ported over Retro Seduction's pristine copy of ABIGAIL LESLEY IS BACK IN TOWN for their upmarket R2 release in their "The Other America" series, can a Cinematheque double bill of THE TROUBLE WITH YOUNG STUFF and SLIPPERY WHEN WET be far behind ? Ah, if only.Most elusive among his '70s gems, ABIGAIL LESLIE may be the most solemn of a lot that includes the much better known because more widely seen CONFESSIONS OF A YOUNG American HOUSEWIFE and LAURA'S TOYS. Providing a presumably unwelcome dose of angst-ridden reality for fantasy-starved flea pit patrons of the day, it must have made for a tough sell when compared to Sarno's comparatively unencumbered tales of marital infidelity, hence one possible explanation for its subsequent obscurity. Rising to the surface after three decades of absence, the movie can now rightfully take its place as the director's crowning achievement as well as one of the finest independently produced American films of the decade, an unbelievable statement to some perhaps in light of Sarno's habit of casting hardcore talent in non-explicit roles, all of whom rise to the occasion beautifully.Though her name is in the title, Abigail Lesley's not so much the main character as the catalyst in other people's lives, having left the quiet little fishing hamlet of Baypoint in a huff years ago after being caught in flagrante with married Gordon Howe (the also recently deceased Jamie Gillis in an uncharacteristically subdued performance) by his unsuspecting spouse Priscilla, played to perfection by the exquisite Mary Mendum a/k/a "Rebecca Brooke", Sarno's magnificent muse who - according to persistent rumor - ended up marrying a Muslim extremist ! Their marriage never recovered from Gordon's spur of the moment transgression and she has been conducting a chaste afternoon romance with laid off fisherman Chester (Eric Edwards, better than ever) whose lonely sister Alice Anne (an excellent turn by lovely Chris Jordan, the actor's wife at the time, who sadly passed away from cancer at an early age) is left to pick up the slack as the family's sole bread winner. As if economic reality's not hitting these people hard enough, bad girl Abigail (the highlight of Jennifer Jordan's checkered career) returns to the place of the crime, hell-bent on wreaking even more havoc in retaliation for having been wronged.The plot's twists and turns could be construed as pure soap opera if it weren't for the compelling earnestness with which they are presented, aided immeasurably by plausible characterizations and the convincing bleakness of a small town forever out of season, courtesy of another haunting Jack Justis solo guitar soundtrack and the autumnal shades of Bill Godsey's intricately composed shots. Skin display's frustratingly frugal - for a reason - during the slow build-up, only to explode by the halfway point when it's basically one sex scene after another. The masks of respectability come off as characters are forced to confront each other and, perhaps even more frighteningly, themselves. None of this comes off as tedious because Sarno has already worked up a full head of steam narratively by this stage. The seemingly liberated Abigail, whose carefree attitude hides unrequited longing, has simply put the inevitable clockwork mechanism into motion and now it won't stop until all the guilty secrets have come out.In addition to those already mentioned, and since no good cast should go unpraised and porno people are rarely the recipients of such, Jennifer Welles has a field day as Priscilla's naughty aunt Drucilla, hunky beau (and future Kentucky Governor wannabe until his illustrious past caught up with him) Sonny Landham in tow. Julia Sorel, who registers strongly as hot to trot best friend Lila, was a minor league adult actress who turned up in Howard Ziehm's loop carrier SEXTEEN and Kemal Horulu's ambitious but flawed VIRGIN AND THE LOVER. Hiding behind the pseudonym "Anne Keel" and playing bitchy buddy Tracey is carnal cult favorite Susan Sloan, best remembered as the star of Robert Sickinger's lavish adaptation of anonymous Victorian porn novella A MAN WITH A MAID a/k/a THE NAUGHTY VICTORIANS.

Bruce J. Green I first saw the film Abigail Leslie is Back in Town in the 1970's – shortly after it had been made. I believe I saw it on cable in some early cable attempt at late night programming. As a then enthusiastic consumer of 'lesbian porn', I remember enjoying it a lot at that time.Recently some inspired promoter re-issued the film on DVD; as I was highly curious about whether or not it had stood the test of time, I bought a copy and watched it.The movie was originally issued as a 'soft core' art film. Therefore, it must be judged on two criterion: does it work as a porn film: and does it work as an art film.The problem is that, as a porn film, it moves way too slowly to succeed. Even the erotic moments are extended beyond the attention span of the average porn viewer. And the connective 'soap opera', which centers around the title character's return from exile after sleeping with the husband of the most uptight woman in town, leaves something to be desired. She returns for revenge and, like Puzo's literary Don Corleone, knows well the Sicilian proverb that 'revenge is a dish best served cold. Unfortunately these connective scenes drag on and on, with long shots of gorgeous New England winter filling them it. It's a very beautiful porn film, but it simply doesn't work on that level.Does it work as an art film? That depends on the viewer. To me it's still remarkably long winded, with all these beautiful shots of a cold and bitter New England winter. But some art film critics love that. And, of course, do I have the credentials to make a judgment about an 'art film'? All I can say is that, though it's still long and awkward in places, I found it enjoyable and interesting. I would, in the overused words of Roger Ebert, give it a mild "thumbs up".One performance needs to be singled out. Rebecca Brooke, who plays the 'most uptight woman in town', has a "deer in the headlights' quality to her performance which more than matches her material, which allows her to be shocked and hurt any number of times. Easily the best performance in the film, she might have had a career as a successful mainstream supporting actress had she tried hard enough.All in all, an enjoyable film but not one that lives up to memory well.

Woodyanders The drab and uneventful tranquility of the sleepy affluent coastal community of Baypoint gets rudely ripped asunder when the notorious sexually voracious and insatiable bisexual harlot Abigail Leslie (the smolderingly hot Jennifer Jordan) unexpectedly returns to the dreary hamlet after a lengthy absence. Demure and uptight socialite Priscilla (the luscious Rebecca Brooke) is especially perturbed, although her smarmy and licentious husband Gordon (legendary porn star Jamie Gillis) is more than eager to have an adulterous fling with the wanton and willing Abigail. Pretty soon Abigail's infectiously sensuous presence causes everyone in town to toss aside their morals and inhibitions for the sheer sake of carnal pleasure, indulgence and debauchery. Among the folks who fall under Abigail's seductive and irresistible spell are feisty, friendly, but unfulfilled fisherwomen Alice Ann (Chris Jordan), Alice Ann's shy, sweet, soft-spoken brother Chester (Eric Edwards), Priscilla's snobby gal pals Tracey (Anne Keel) and Lila (Julie Sorel), Priscilla's raunchy aunt Drucilla (Jennifer Welles), and hunky resident stud Bo (handsome, muscular Sonny Landham, who later went on to act in such 80's mainstream action features as "48 Hours" and "Predator").Acclaimed soft-core director/screenwriter Joe Sarno expertly crafts a highly absorbing and arousing soap opera-style small-town slice-of-life melodrama which not only delivers the expected sultry and alluring goods (the sex scenes are fairly explicit and steamy, but never too graphic or sleazy), but also serves as a perfectly trenchant and provocative critique of very conservative and puritanical small town mores (best represented by the frustrated Priscilla and the unhappy Alice Ann), hypocrisy (Priscilla's friends Lila and Tracey blithely partake in Abigail's lascivious fun and games despite the fact that they are both married), and repressed passions and desires (Priscilla pines for Chester, but is too timid to pursue her romantic interest in him). The uniformly excellent acting from the first-rate and attractive cast is a substantial plus: Brooke, Jordan and Edwards in particular are outstanding, with sound support from Welles, Keel, Sorel, Jordan and Landham. Moreover, both Bill Godsey's pretty, polished cinematography and Jack Justis' hauntingly sad, moody, tuneful acoustic guitar score further enhance the film's sterling quality, thereby lifting this movie well out of the rut of your standard mindless skin-flick. All in all, this picture rates as another involving, intelligent and impressive thinking man's soft-core outing from the always reliable Joe Sarno.