POINT OF TERROR (1971)

This masterpiece of sexploitation opens with nightclub singer Tony Trelos [Peter Carpenter] in a fringed red suit, lip-synching to a bombastic pop song that makes Tom Jones seem understated. He becomes involved, both professionally and sexually, with Andrea [Dyanne Thorne], the buxom wife of Martin [Joel Marston], the wheelchair-bound owner of a major record label. Andrea is both alcoholic and sex-starved, of which Tony takes full advantage in the hope that it will advance his singing career.

Peter Carpenter, who co-produced, must have had a whale-sized ego. How else to explain the lingering crotch shot as he lights a cigarette or the lengthy butt shot when he steps out of the shower (without a drop of water on him)? Not to mention a nude side-angle shot in which Tony's leg just barely obscures his one-eyed wonderworm. If he hadn't died suddenly in late 1971, Peter Carpenter might have been a great Playgirl centerfold. He also performed his own songs, and what songs they were! One seems to feature the lyric, “Life beans turning into lima beans.” (I probably heard it wrong.) Incredibly, the music was produced by veteran songwriter Hal Davis, and a closing credit states that the recordings were “Courtesy of Motown Records.” Was the Jackson 5 not bringing in enough cash?

Some of my favorite parts of this film:

- a sex scene on the beach using split screens to show the fornicators at different angles (I counted six);

- Andrea topless in a swimming pool--with a rack so big, it's amazing she got her head under the water;

- Andrea's husband Martin, who can't seem to keep still, even though he's crippled from the waist down;

- Martin becomes so angry that he tries to beat the shit out of Andrea from his wheelchair (it doesn't go well);

- Tony goes home with Andrea's drunken pal Fran [Leslie Simms];

- Tony goes horseback riding with Andrea's stepdaughter Helayne [Lory Hansen] and gives her a horsey-ride of his own;

- Tony knocks up his main girlfriend Sally [Paula Mitchell] but dismisses the pregnancy as her problem. Sally, however, doesn't see it that way and gets her point across in a most severe manner. Let's just say, Tony will never make another record (or do anything else, really).

I've heard this film described as “Russ Meyer lite,” a fitting description when compared to Meyer's BEYOND THE VALLEY OF THE DOLLS. I like POINT OF TERROR better. though, if for no other reason that there's no male character who sports female breasts and calls himself “Superwoman.” (I wish I had made that up, but no.)