I don't know about other reviewers but I thought this sleazy skin flick was absolutely awful. Like other Crown International Pictures from the era such as CINDY AND DONNA, this is a near plot less affair of simulated sex between unappealing actors with a few dramatic elements thrown into the mix.

The main character is a sleazy porn producer who falls for one of his own actresses. They attempt to get out of the business, but various stuff gets in the way. The whole film has a tired, cheap look to it, the characters are horrendous, and it's about unerotic as it gets. Viewers looking for genuinely sleazy fare will also be disappointed as films like this are oddly tame considering the shocking depravity that a lot of horror films were delving into during the same era (I'm thinking of THE EXORCIST and THE Texas CHAINSAW MASSACRE as an example).

Handsome and successful, yet arrogant young Jim (nicely played to the cocky hilt by Alain Patrick) appears to have it all together: he's married to the beautiful and supportive Lisa (a winningly warm portrayal by luscious brunette Barbara Mills),has a healthy baby, and works a cool gig as the director of hardcore porno fare. Jim's seemingly perfect life starts to fall apart when he has an extramarital fling with yummy blonde Ingrid (the delectable Inga Maria) and the local Los Angeles vice cops close in to make a bust. Director Patrick and screenwriter Nick Boretz offer a fascinatingly stark, gritty and seamy behind-the-scenes peek at the funky early 70's smut cinema trade. Although this movie delivers a fair amount of nudity and soft-core sex, it's surprisingly not that trashy or exploitative. In fact, Patrick and Beretz handle the sordid subject matter in an admirably casual, nonjudgmental and matter-of-fact way. Patrick and Mills give engagingly natural performances in the lead roles; they receive sound support from Jeff Gall as shrewd sleazeball producer Mike, Oliver Aubrey as smarmy investor Fatman, Steve Roberson as nervous theater owner Freddie, and Gary Kent as a browbeating vice cop. 70's skinflick starlets Sandy Dempsey, Maria Arnold, Eve Orlon, and Suzanne Fields pop up as various actresses who do what they do in Jim's dirty pictures. R. Michael Stringer's crisp cinematography does the trick. The neatly varied score alternates between melodic acoustic folk and groovy prog-rock. Executive produced by noted adult filmmaker Bob Chinn (he made the famous Johnny Wadd features starring the legendary John Holmes),this offbeat and intriguing unsung sleeper overall sizes up as a more accurate and authentic small scale version of "Boogie Nights."

French-Canadian man (Patrick) does his best to secure his young family the freedom and future they crave aboard the boat he's lovingly restoring, on an income derived from his work as an adult film-maker. But the pressures of the business and political crackdowns take their toll forcing his wife (Caron) to leave their rented pad while Patrick frantically attempts to get his last few movies in the can to finance their dream and rid the family of their ignominious past.

Patrick stars and directs this low-key drama in which his central character goes from porn-artist to money-hungry assembly line producer, turning would-be starlets into harlots to feed his freedom frenzy. Caron as his pot-smoking former actress wife protests a lot, but never seems to have the conviction to make a lasting stand against his chosen "profession", manacled by the material trappings and constant promise of a better life aboard the grand ship freedom, where they plan to sail the seven seas, trading coconuts and trinkets, smoking dope, drinking wine and living the dream. Jeff Gall is suitably sleazy as Patrick's partner and enthusiastic co-producer, while Gary Kent is a familiar face and voice in a small role as a vice detective.

Some humour (the quirky auditions should make you chuckle),lots of bare flesh and simulated sex (as you'd expect) and a manuscript full of dumb dialogue ("you can't come to work when you've got your period") the film never really hits the high notes, remaining low-key and melodramatic, like a balloon fizzling to its limp conclusion, which is especially disappointing, leaving little resolved. Looks a little experimental and obviously dabbles in a taboo subject particularly in its era and political context, might be worth a look if you can appreciate B-grade trash cinema.