Spirit of Seventy Sex

As America was preparing to celebrate its Bicentennial in 1976, the ever helpful adult industry chipped in with two major films for the occasion. Most successful at the time was the wild 'n' wacky Jennifer Welles vehicle LITTLE ORPHAN SAMMY, but Godfrey Daniels' SPIRIT OF SEVENTY-SEX proved superior in almost every respect and has stood the test of time remarkably well. "Godfrey Daniels", posing here as both of the equally fictitious "Krelmn Sisters" ("Rikki" & "Michelle" for all you trivia fans out there), has since been revealed as TV producer Stu Segall, the man behind such popular shows as HUNTER and THE CHRONICLE. In another life, he was one of the most talented yet – ironically – unsung directors of dirty movies best known for his '80s Marilyn Chambers classics INSATIABLE and UP 'N' COMING. Prior to these show ponies, he had already perpetrated a number of cult favorites fondly remembered by true longtime genre fans like the ludicrously titled but highly entertaining TEENY BUNS with Nancy Hoffman and her little friends discovering the joys of play for pay or the equally effective SUMMER SCHOOL with the late lamented Laurien Dominique trading her maidenhead for passing grades at her new college. Mmm, am I detecting a pattern here ? He would also helm one of the first and best of the so-called crossover adult films, the industry's desperate bid to appeal to women and couples as well as the lonely rain-coater, with the underrated CHARLI starring Sam Weston's fave actress Jesie St. James and genre goddess Annette Haven. Which neatly brings us back to SEVENTY-SEX, made half a decade earlier, as top-billed Haven headed its cult cast of West Coast adult alumni. She may be the most instantly recognizable performer on display, playing devoted Martha Washington to dashingly handsome Tyler "Horne" Reynolds' George, so some identification may indeed be called for.

Decrepit old codger Ebenezer K. Bartholomew, who claims he was around at the signing of the Declaration of Independence, takes viewers on an expletive-filled whirlwind tour of the "real" history of our founding fathers, exposing their dirty little secrets for the world to see. His frequently uproariously funny narration leads us into the various, extremely well-done erotic episodes. The already mentioned Haven and Reynolds (who side-lined as a stand-up comedian outside of his copious adult work, including Rene Bond's farewell fling DO YOU WANNA BE LOVED ?) have bookend scenes. Jeff Lyle (a/k/a "Robert Stones", Linda Wong's co-star in Sam Weston's unfairly dismissed ORIENTAL BABYSITTER) is Paul Revere, doing a really hot number on the always scorching Kristine Heller, the insatiable rock star from Alex De Renzy's BABYFACE. Lyle and Heller were teamed again, proof positive that lightning does not strike twice in the same place, in Carlos Tobalina's characteristically dreary ULTIMATE PLEASURE. Stalwart John Seeman (the hunky chauffeur from Richard Kanter's DESIRES WITHIN YOUNG GIRLS) dons a silly skull cap for the part of Benjamin Franklin, discovering electricity and immediately putting it to good use by applying the world's first vibrator to lovely Angela Haze, who was one of the duplicitous streetwalkers separating sailor Richard Pacheco from his cash in Damian Lee's sweet sleeper BABY LOVE AND BEAU. No one should have any trouble identifying the King himself, John Holmes, as Captain John Smith making out with Pocahontas as essayed by the fabulous Desiree West, the single black female superstar of the '70s. Sandi Pinney (who made an impression as Caroline, the woman who unwittingly inspires Annette Haven's descent into depravity in Gary Graver's superlative V – THE HOT ONE) has an all time Sapphic bit with achingly pretty Gail Lawrence a/k/a "Abigail Clayton" in the barn before being ravished by the Minute Men, played by Jon Martin (star of Harold Perkins' HOT LUNCH and a solid supporting stud well into the '90s), Radio Ray Wells (John Leslie's hapless cab driver colleague in Svetlana's "F") and Clay Hyde (one of the "Magnificent Seven" in Antonio Shepherd's 7 INTO SNOWY, though he had already done some orgy stuff in the Mitchell Bros. early '70s classic RESURRECTION OF EVE).

Perhaps because it's such infectious, at times positively anarchistic fun, liberally sprinkled with anachronisms, and everyone appears to be enjoying themselves too much to be labeled "professional", it might seem easy to dismiss the finer points of film-making Segall so deftly exhibits. Evocative lighting (usually described as "too dark" by current carnal critics) and smooth camera-work combine with flawless editing rhythmically set to another superb, song-packed "Long John" soundtrack to assure one of the more visually appealing and perfectly paced porno picks of the era. For the record, "Long John" (or "John Long" or any possible permutation thereof) were actually two mainstream songwriters whose services Segall frequently called upon. If additional proof were needed that terrific music can greatly enhance an already solid sex scene, one need look no further than this immensely enjoyable gem of a movie.

Of course this is a spoof porn featuring "historical figures" played by stars of the day. Annette Haven is the featured female and damned well should be. But what takes a lot away from this film is the ghostly narrator (in modern day Boston) who makes such pitiful jokes...akin to maybe 6th grade level locker room quips...that it just makes you want to turn the show off. The depiction of Ben Franklin as a dottering old fool is ridiculous as he was very well known as a "productive" philanderer. He got around and knew his way around.

The ladies wear modern lingerie under their period costumes, have bikini tan lines and can't "thee and thou" their way out of the 1970's. It's supposed to be a spoof. I get it. What I didn't get was any enjoyment beyond the incredible Annette.

Directed by Godfrey Daniels, this classic adult film is a nostalgic trip down memory lane, offering a glimpse into the free-spirited and explicit world of vintage erotica.

The movie opens with a sun-drenched outdoor encounter between the stunning Annette Haven and Tyler Reynolds, a passionate duo who waste no time in exploring each other's desires. Their intimate session includes a range of sensual acts, from oral pleasures to deep vaginal penetration, setting the tone for the film's unapologetic celebration of sexual freedom.

As the scenes unfold, we meet Kristine Heller and Jeff Lyle, who engage in a steamy tryst filled with oral delights and intense vaginal intercourse. The chemistry between the performers is palpable, showcasing the era's raw and uninhibited approach to adult entertainment.

Angela Haze and John Seeman take the stage next, delivering a sultry performance of oral stimulation, focusing on the female pleasure. The scene exudes a sense of intimacy and mutual satisfaction, a refreshing change of pace.

The iconic John Holmes then graces the screen with Desiree West, engaging in a passionate exchange of oral pleasures and vaginal penetration. Holmes, a legend in the industry, brings his renowned prowess to the scene, leaving a lasting impression.

The film takes a sensual turn as Abigail Clayton and Sandy Pinney indulge in a lesbian encounter, their kisses and oral exploration of each other's vulvas creating a tender and erotic atmosphere. This scene is a testament to the film's diverse portrayal of sexual encounters.

The action intensifies as Sandy Pinney takes center stage in a foursome with Kent Hall, Jon Martin, and Ray Wells. The group engages in a wild display of oral sex, double fellatio, vaginal intercourse, and culminates with a facial ejaculation. This scene is a frenzied celebration of sexual liberation.

In the final act, Annette Haven and Tyler Reynolds reunite, revisiting their passionate connection with oral and vaginal intercourse, leaving viewers with a sense of satisfaction.

'Spirit of Seventy Sex' is a time capsule of adult cinema, offering a glimpse into the era's sexual liberation and the evolution of erotic entertainment. The performances are natural and unscripted, capturing the raw energy of the time. While the production values may seem dated by today's standards, the film's historical significance and honest portrayal of human sexuality.