After the suicide of a prostitute, her daughter travels to New York where she boards with pin-up models.
Albert T. Viola, not only directed the movie, he was literally the cameraman too. There isn’t a load of recognizable names in this 1965 release, but if you’ve always been a fan of that bizarro trio of leather and whip naked delight, Olga, Olga’s House of Shame, & Olga’s Dance Hall Girls, you’ll immediately recognize the deliciously evil Audrey Campbell, who pines after sexy yet naive Babara Morris, who takes the lead as Candy in this early 60’s treat. Candy’s had a tough life ya see. Her mom was a whore, who says fuck it and commits suicide, and Candy is running away to another city to begin her life anew. I did mention that Candy was a bit naive didn’t I? Well… if I didn’t, you’ll figure that out on your own, when you see that that new life she was after, begins with moving in with big tittied friends that model naked for a living. Candy’s gonna need a job…..so…..errr..you get the point. A bit late to the game, but my 1st entry into Asano’s infamous sexy summer competition….. 1965’s
Great photography for '60s cautionary tale
This is a low budget exploitation tale, mostly shot silent, relying on sorrowful narration by the girl who has come to New York after her whore mom's suicide. Moving in her only friend, a pin-up model, she finds idyllic, if temporary, romance with a photographer, then a sculptor, before descending into a mildly debauched sex party scene. The photography and editing are sharp, set to a relentless cool flute and bongo soundtrack. There is twisting. The scenes of bygone New York are beautiful, from the girl's arrival at Grand Central, to Times Square in a less gaudy age, to unchanging Central Park. This is worth a look for fans of 1960's style.
Neat little 60's East Coast exploitation item
Naïve young lass Candy Stevens (a solid and appealing performance by Barbara Morris) leaves town and moves to New York City in the wake of her prostitute mother committing suicide. Candy settles into an apartment with several pin-up models and tries to resist the temptation to get caught up in an highly enticing and addictive fast lane lifestyle.
Director Albert Viola keeps the engrossingly sordid story moving along at a quick pace, maintains an engaging breezy tone throughout, and offers a decent smattering of yummy bare distaff skin. The climactic lively swing party and a dance sequence at a hip Harlem nightclub rate as definite groovy highlights, while the genuinely startling surprise bummer ending packs a devastating punch. The choice location footage of the Big Apple in all its snazzy 60's splendor qualifies as another major asset; we get everything from Candy arriving in New York City at Penn Station to a fun montage sequence of Fifth Avenue storefronts. Moreover, the sound acting by the competent cast helps a lot: Sally Lane as Candy's loyal friend Laura, Joseph Sutherin as nice guy sculptor Joe, Audrey Campbell as sage and worldly mentor Barbara, and Ian Miller as dashing photographer Charles. The sharp black and white cinematography gives this picture a pleasing crisp look. Chet McIntyre's eclectic score alternates between smooth bouncy jazz and more primal throbbing noise. A nifty outing.
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