Teenage 1973

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Teenage 1973
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Wayward and uninhibited young runaway Kim has fallen in with a bad crowd. Kim decides to flee said crowd and goes to the west coast to reunite herself with her uptight and neurotic estranged... Read all Wayward and uninhibited young runaway Kim has fallen in with a bad crowd. Kim decides to flee said crowd and goes to the west coast to reunite herself with her uptight and neurotic estranged older sister Hilary so she can collect some of the inheritance left behind by their decea... Read all Wayward and uninhibited young runaway Kim has fallen in with a bad crowd. Kim decides to flee said crowd and goes to the west coast to reunite herself with her uptight and neurotic estranged older sister Hilary so she can collect some of the inheritance left behind by their deceased parents. However, evil drug dealer Maury and his flock follow Kim to Hilary's house.
At the start of the film the truck departs from the diner, but after several minutes of driving approaches the diner again (Shell refueling station on the left side of the road, diner on the right side.)
Sadness Sung and Composed by Steve Ortez and Frankie Ortez Featuring Maria Lisa
Fab Alisha Fontaine in an unsettling roughie
I saw TEENAGE TRAMP at a Cleveland drive-in showing back in the '70s and forgot all about it until recently watching a video revival - it is a rather unsettling look at clashing life styles in America, here depicted violently for the exploitation fans. After all these years it still carries a wallop. Anton Holden is a journeyman filmmaker, whose three features as director are all decidedly downbeat. Whether this was his world view, happenstance or a result of "taking it out on the audience" syndrome we'll never know, but TRAMP is bleak, indeed. Fontaine and her extremely unsympathetic (in an underwritten role) boy friend are introduced on the lam -turns out he's a draft dodger and they're headed for the Canadian border. Film's clumsy opening scenes have them getting a ride from a truck driver, who proceeds to fondle and rape Alisha in the front seat while her b.f. sits in the back. His "so what's the big deal" response when she relates the horrible incident to him later sets the tone for the misogynistic exercise to come. Fontaine is heading back to her estranged sister's home, in search of a grubstake to get them to Canada. Sis, very well played in soap opera acting fashion by top-billed Robin Lane (I wasn't surprised to find in IMDb just now that she indeed was a soap vet, of the estimable "Dark Shadows" series), has become rich as an art dealer. She has an egotistical young artist (Lane is styled as a MILF) who she's backing and sleeping with but who won't commit to marrying her as yet. All hell breaks loose when Fontaine arrives on Lane's mansion doorstep. A few minutes later she's swimming and diving in the olympic size pool, coming on to sis' boy friend and trying her darnedest to extort cash from Lane. Meanwhile, her dodge-the-draft guy is hiding out in the woods nearby. Film becomes a harrowing experience with the arrival of Manson-esque cult/gang leader Maury (extremely well played by David Sawn, who also penned the film's story). He resembles the latter-day look of Tim Curry, now that the ROCKY HORROR star has morphed into a suitable middle-aged TV villain (I'm thinking of his recent scary appearances on "Criminal Minds"). Sawn has been tracking Fontaine ever since she split, insisting that she rejoin his hippie gang as his main squeeze and preemo drug dealer. Sawn literally moves into Lane's mansion unannounced, dragging along with him a dozen or more gang members who, bongo drums in tow, start snorting drugs, dancing around, stripping and having sex, and otherwise drive Lane crazy. Film, which has been bleak right from the outset (when the truck ride was accompanied by doom & gloom road movie visuals) heads straight toward purgatory as Sawn terrorizes both sisters. Not since Peter Collinson's classic THE PENTHOUSE, the ultimate in non-porn house invasion movies, have I seen such a hopeless & helpless depiction of a woman (Suzy Kendall) under the thumb of a ruthless baddie as shown here. In the porn world, I would say Michael Gaunt vs. Kim Pope & Lynn Bishop in THE INTRUSION is still the ultimate. The most harrowing sequence, slowly paced a la Sam Peckinpah's classic and still controversial Susan George rape scene in STRAW DOGS, has Sawn relentlessly forcing more and more drugged liquor down Lane's throat, trying to kill her and make it look like suicide. That must have been quite a day on the set -looks like Lane's career never recovered. Holden's script from Sawn's story is not very convincing on why the police are never called in to fumigate the place of hippies and other vermin, but as played it is scary cinema. Final plot twists and action scenes are way over the top, but about as nihilistic as you can get in a nihilistic genre. As the end credits rolled I was literally worn out, and soon brought back to reality thinking that with a lot more care (especially regarding the psychology and characterizations of BOTH boy friends) this could have been a classic. I was an Alisha Fontaine fan back in the '70s, but had forgotten about her until seeing this showcase again on video. Her high water mark was co-starring in FRENCH QUARTER (widely available on DVD), one of the best indies I ever saw at a drive-in, but completely ignored back when it was new.
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What is the English language plot outline for Teenage Tramp (1973)?
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Skip : [leaving diner, to the tune of What Happened To The Good Times?] Any cops around?
[regarding the guy from whom they're hitching a ride:]
Kim : Listen, why did you have to pick this guy, Skip? He scares me!
Kim : [as they approach the truck] Skip, he really scares me!
Skip : [insistent] We've got to do it!
Kim : [he's not going to ride in front] Skip, where are you going?

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It's not that fun getting into TROUBLE
Blessed with an intriguing premise but cursed by the kind of lazy, slapdash execution all too common for the genre, TEENAGE TROUBLE is a prototypical piece of early '70s storefront filmmaking: unambitious in the extreme, and happy to shuffle offscreen after delivering the required hour of sex action. The set-up is solid, with a couple (far from teenage) canoodling in their car on lover's lane. Realizing they'd better get the distaff member home, the pair heads out but soon experiences car trouble. They're rescued by a couple guys in a pickup truck, one of whom is SF stalwart Johnny Keyes, which should prime the viewer for what's to come. Taking the guy to a nearby gas station and promising to drop his girl home, it's little surprise the two subsequently abduct her, taking her back to their shack and having their way with her in the back of the pickup. The scene starts out nasty, with some realistic protestations from the young woman, but she soon drops that ruse and things settle into routine F&S. Calling the girl up the next morning, boyfriend is surprised to reach her father, who berates him for not bringing her home. Realizing something is up, he heads out to find the truck and stumbles upon a couple of hippie sapphists in the woods. Surprisingly refraining from joining the action, he ends up pointed to a nearby shack where the kidnappers are. The hippie chicks follow, and things devolve into an orgy, with the two protagonists finally sneaking away after everyone falls asleep. Despite its intriguing abduction conceit, TROUBLE loses steam quickly once it becomes clear it's uninterested in delivering anything taboo beyond its heroine suggestively shaving her nether regions. There's a bit of light bondage, and the early scene of the couple's truck breaking down is amusing for the ineptness of its post-dubbing, but the story overall is so unambitious there's precious little entertainment to be found, either intentional or otherwise. Despite being dressed up with an intriguing premise, this is standard Frisco porn, hardly worth being elevated beyond its current obscurity.
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Fully supported English (United States) Partially supported Français (Canada) Français (France) Deutsch (Deutschland) हिंदी (भारत) Italiano (Italia) Português (Brasil) Español (España) Español (México)
Stranded when their car gets a flat tire, two sexy girls accept help from two hippies in a dune buggy. After sex to repay the favor, the four team up for a robbery at one of the girl's home,... Read all Stranded when their car gets a flat tire, two sexy girls accept help from two hippies in a dune buggy. After sex to repay the favor, the four team up for a robbery at one of the girl's home, but it goes terribly wrong. Stranded when their car gets a flat tire, two sexy girls accept help from two hippies in a dune buggy. After sex to repay the favor, the four team up for a robbery at one of the girl's home, but it goes terribly wrong.
Four pages illustrated review published by "Adam Film World" volume 5 number 3, February 1975.
Referenced in Watching the Detectives (2007)
Recommended soft porn epic, but still shrouded in mystery.
I greatly enjoyed TEEN-AGE JAIL BAIT, and the following review is a first stab. At the time of viewing and writing the IMDb credits were garbled, but thankfully have been since updated. John Alderman as Joey and Chesley No one as Gus play a motley pair of buddies who come to the aid of heroines Rene Bond (as Sue) and Kris Kross (as Amanda), whose Cadillac has broken down. They attempt to rape both girls, but Noon turns out to be another '70s candidate (prematurely -he looks to be in his 20s) for Viagra which hasn't been invented yet. Bond, who already has her breast implants, is the good girl, while Kross is a hiss-able bitch who quickly convinces Alderman to come home with her and rob her daddy's safe, always filled with something like $100,000 in cash he takes in as part of a money laundering operation. Noon goes along with the plan, more afraid of having his sexual inadequacy exposed than being arrested by John Law. In a low-low-low-rent version of THE DESPERATE HOURS, they take hostage daddy (Christopher Jefferies, presumably the guy called Christopher Geoffries in the database), the step-mom Valerie (voluptuous Marsha Jordan) and prissy, virginal sister Linda (tattooed favorite Sandy Dempsey). All manner of double-crossing and triple-crossing ensues, which I won't spoil for the patient fan who can locate this extremely obscure movie. Violence is stressed and the sex scenes, as one would expect in a John Alderman movie, are strictly soft-core. The all-star cast delivers solid performances and the script remains interesting till the nihilistic, bitter end. Garage music, which Johnny Legend would dig, fills the soundtrack, and perhaps the only drawback is that the bondage footage of Dempsey in captivity is way too tame, both from a violence p-o-v and devoid of the expected sex scene, to satisfy the fans. I had originally confused this film with another Stu Segall movie (also written and produced by Harold Lime) made that year and also starring Kris Kross in the title role: PENELOPE'S EDUCATION, recently reissued by Alpha Blue Archives. It co-stars Sandy Carey and also features Chesley No one and needs to be added back to IMDb (not as alternate title for TEEN- AGE) in its own right. As it is, TEEN-AGE JAIL BAIT has no character named Penelope -the targeted personage would be Dempsey but she's named Linda. So the question of what exactly is this film and what playoff it received -it would have made a quality drive-in programmer - remains unanswered. The writer-producer Edward Everett had a checkered career - I just watched his minimal nudie pic from '64 EVERYBODY LOVES IT, and there is speculation that he later resurfaced as porn maven Harold Lime, but this remains poorly researched. Even with all those question marks hanging, TEEN-AGE JAIL BAIT is a winner.
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