UnowPriceless hyped garbage

Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

AshUnow This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

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.

christopher-underwood Effective and ultimately rather engaging soft core from Mr Sarno. I think it should be said right away that 'soft core' here means something a little more than the usual mincing about that one might imagine. I reckon but stand to be corrected that some of this is real sex without us actually being shown the graphic detail. Anyway, suffice to say the sex scenes are believable and erotic. I am not as stunned by the acting as some seem to be but, I guess for the type of film this is, the acting is surprisingly good. I don't really know whether the film is a bit stilted at the beginning with its slightly awkward flashbacks or it just took me a little while to get into things but the film certainly seems to get better as it progresses. By the end when Abigail has managed to 'engage' with the whole cast and encourage almost everyone to also go with each other, in twos, threes and more the fire is well alight. There are also some pointed observations and I particularly liked a scene where one of the more retiring girls asks Abigail to help her become free like her, Abigail replies, 'You may not like being free'. Very enjoyable and not one scene that seems too long - some achievement!

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.