Füge eine Handlung in deiner Sprache hinzuAfter her husband rejects her, Nora Pelham is advised by Dr. Malcolm to have an affair. Soon enough, even the fortune teller Madame Chaney convinces Nora having sex with her is already deter... Alles lesenAfter her husband rejects her, Nora Pelham is advised by Dr. Malcolm to have an affair. Soon enough, even the fortune teller Madame Chaney convinces Nora having sex with her is already determined by fate.After her husband rejects her, Nora Pelham is advised by Dr. Malcolm to have an affair. Soon enough, even the fortune teller Madame Chaney convinces Nora having sex with her is already determined by fate.
Tony Perez
- The Hook
- (as Tony 'El Goncho' Perez)
Susan Sloan
- Bonnie
- (as Thelma Thigh)
Robert Kerman
- Sam Pelham
- (as Robert Kerr)
Beerbohn Tree
- Nigel Farthington
- (as Baumner Tree)
Roberta Findlay
- Bonnie's Mother
- (Synchronisation)
- (Nicht genannt)
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I recall seeing this film on Times Square at the time of its release and being quite disappointed because the money shot was missing! It seems that in the manner of age-old grind houses and drive-in theaters (celebrated in a different way in the nostalgic Cinema Paradiso) the projectionist had snipped for private use the key scene of C.J. Laing performing a deep throat maneuver on Tony (The Hook) Perez in a hot tub. A decade later I was able to view the film intact on VHS and see the missing footage, which certainly made C.J. a legend with fans back in the heady days of porno chic (pun intended). At any rate, this film is way above average, with an interesting, if far-fetched story line, and some good acting, notably by porn vets Eric Edwards and R. Bolla. I never knew till consulting IMDb that this film was directed by Roberta Findlay (using a male pseudonym) - a surprise since I interviewed her much later about her latter-day efforts directing horror films and would have asked her about this one had I known.
Anyone But My Husband stands as a curious artifact from the heyday of New York's adult cinema, blending comedic sensibilities with the liberated spirit of its era. The film's direction is brisk and unfussy keeping the tone light and the pacing energetic, even as the story veers into increasingly outlandish territory. The cinematography is straightforward, favoring clear, well-lit compositions over any visual experimentation, which suits the film's comedic intentions but occasionally leaves scenes feeling visually flat. Editing is serviceable, with scenes moving at a lively clip, although transitions can feel abrupt and some sequences linger longer than necessary.
The acting is a notch above what is often expected from films of this genre and period. C. J. Laing, in particular, brings both charisma and a playful wit to her role as Nora Pelham, making her character's journey engaging even when the script leans into farce. Laing's performance is confident and nuanced, and she manages to ground the film's more absurd moments with genuine charm. Supporting players, including Jennifer Jordan and Robert Kerman, deliver solid turns, though their characters are largely defined by the film's comedic and sensual set pieces rather than deep characterization.
"Anyone But My Husband" approaches its adult themes with humor and a sense of mischief, never taking itself too seriously. The film's comedic approach to marital dissatisfaction and sexual exploration keeps the tone light, though some scenarios feel more cartoonish than provocative. While the film is a product of its time and reflects the attitudes of the 1970s, it avoids explicit language or imagery in its dialogue, focusing instead on the playful and sometimes absurd situations its characters find themselves in.
Ultimately, the film is more notable for its cheeky humor and the standout presence of C. J. Laing than for any technical or narrative innovation. It is an entertaining curiosity for those interested in the history of adult cinema or the early work of Roberta Findlay, but its appeal may be limited for modern audiences seeking more polished production values or sophisticated storytelling.
The acting is a notch above what is often expected from films of this genre and period. C. J. Laing, in particular, brings both charisma and a playful wit to her role as Nora Pelham, making her character's journey engaging even when the script leans into farce. Laing's performance is confident and nuanced, and she manages to ground the film's more absurd moments with genuine charm. Supporting players, including Jennifer Jordan and Robert Kerman, deliver solid turns, though their characters are largely defined by the film's comedic and sensual set pieces rather than deep characterization.
"Anyone But My Husband" approaches its adult themes with humor and a sense of mischief, never taking itself too seriously. The film's comedic approach to marital dissatisfaction and sexual exploration keeps the tone light, though some scenarios feel more cartoonish than provocative. While the film is a product of its time and reflects the attitudes of the 1970s, it avoids explicit language or imagery in its dialogue, focusing instead on the playful and sometimes absurd situations its characters find themselves in.
Ultimately, the film is more notable for its cheeky humor and the standout presence of C. J. Laing than for any technical or narrative innovation. It is an entertaining curiosity for those interested in the history of adult cinema or the early work of Roberta Findlay, but its appeal may be limited for modern audiences seeking more polished production values or sophisticated storytelling.
Golden age hard-core from Findlay, from whom we might have expected a rather better SM sequence, and starring the delightful C J Laing, in I believe her debut. She is very good indeed, both in and out the sex scenes. A protracted, yet effective set up gives us a husband who spends all his time with a young girl, leave his wife to find something or someone else. The something in the way of a champagne bottle is an excellent extended scene and although a subsequent soap two girl fisting is almost as good not much else is. Tony 'El Goncho' Perez turns up for his only role with a giant penis that is flaccid most of the time but has the unfortunate effect of making everybody's normal cock look small.
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- WissenswertesAdult-film debut of Robert Kerman.
- PatzerRonnie Love, Michael Thorpe (as Michael Lelouche) and Carol Russo are credited but do not appear in this film. Their scene with Jennifer Jordan and C.J. Laing ended up on the cutting room floor. This sequence is partially featured in Roberta Findlay's The New York City Woman (1977) and is finally seen complete in Findlay's Beach House (1980).
- VerbindungenEdited into Beach House (1980)
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