Reissued as BRIDE'S DELIGHT on Vol. 52 of Something Weird's Dragon Art Theatre DVD-R series, this light and mildly entertaining film goes better with its alternate moniker HILLBILLY HONEYMOON, which appears on a competing DVD release by After Hours Cinema.

John Keith, capitalizing on his vague resemblance to Max Baer Jr., is cast as a hick who wins a honeymoon trip to L.A., including a visit to a movie studio. The newlyweds are mistaken by the Hollywood studio's porn director (mega-portly Jack King) for talent, and offered $100 each for a day of triple-X performing for the 16mm camera.

They accept and that's the entire plot for the film. It would be another interminably boring hour at the grindhouse, with sound turned off in favor of insufferable Muzak, but for the casting of two beautiful leading ladies.

PAGING P.T. ANDERSON:

There remains to be made a porn equivalent to SINGIN' IN THE RAIN, documenting not the transition to sound but rather the awkward early '70s transition from softcore to hardcore filmmaking. Keith in this film is a perfect example -he participates in hardcore scenes, receiving blow jobs, but seems incapable of achieving an erection for the seemingly simulated (by default) intercourse footage, leaving the movie's more manly content to well-hung co-star William Howard.

As his bride, an unidentified, buxom but pint-sized blonde actress has a heavy European accent, rendering her (fortunately minimal) dialog with attempted Southern accent unintelligible. Portraying a tall and beautiful porn actress named Star is the beautiful "Star" (no real name known), a standout here & massive turn-on.

Muzak soundtrack draws heavily on the Beatles, including atrocious versions of "Nowhere Man", "Penny Lane", "And I Love Her", "All My Loving", "Michelle" and what is perhaps a candidate for SWV's greatest pirate hits CD, "Ob-La-Di, Ob-La-Da", which I've heard on at least four of their videos during the past month. For good measure, the elevator treatment is also accorded "See See Rider", "Blue Velvet" and "Our Day Will Come", transporting me, unwillingly, back to the Top 40 world of the '60s. The notes to the alternate version issued by After Hours state that the original music track was deleted for fear of copyright lawsuits, so substituted instead is a jazz score lifted from one of Nick Millard's numerous AHC releases, already paid for by the video company.

The After Hours version has an opening omitted by SWV: Film begins with the newlyweds' actual arrival in L.A. by an old truck and we see a closeup of Fay Wray's star on the Walk of Fame plus a shot of the RCA Bldg. As usual, porn films are loaded with cryptic elements, so why Fay Wray was chosen for this dubious salute is beyond me.