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Somewhere in the rural Midwest of the USA: Lorna (Lorna Maitland) feels
neglected by her husband Jim (James Rucker), who spends his timelearning to be
an accountant to get away from his dead end job at the saltmines, while Lorna
only wants to be loved ... & it looks as if Jim even has forgotten their
first wedding anniversary. So is it any wonder that Lorna eventually gives her
affections to an escaped convict (Mark Bradley), who takes her by force, but
fucks her real good ... ?
Not knowing that the convict is in fact a convict, & thinking her
husband is out until the evening, Lorna soon invites the man to her house
&' they spend a few hours of lovemaking ... At the saltmines, Jim's
colleagues Luther (Hal Hopper) & Jonah (Doc Scortt) tease Jim endlessly
about his wife's imagined shenanigans while Jim is at work ... to a point
where the teasing tips over & they fight it out quite brutally, only
coming back to their senses when each of them is seriously hurt. And because
it's Jim's wedding anniversary, they are given the rest of the day off ... While
still in bed witht he convict, Lorna hears her husband & his 2 colleagues
approaching in their boat (they are living on the river), & the convict
soon decides he has to get his hands on their boat, & he wants to use Lorna
as bait ... she even wills in, but then she hears how valiantly her husband
fought for her honour, rediscovers her love for Jim & warns him of the
convict just in time ... the 2 of them get into a fight, which is actually
ended when Luther throws a lethal knife in the convicts back, but amidst all
the chaos, Lorna was killed too ... James Griffith plays the Greek
chorus-like onscreen narrator as a form of fundamentalist reverend. Since
the late 1950's, director Russ Meyer has made skinflicks, basically not all
that funny erotic comedies with a bit of nudity thrown in (Eve and the
Handyman, The Immoral Mr Teas) or erotic pseudo-travelogues (Europe
in the Raw, Heavenly Bodies), but with Lorna, he shifted gear: Lorna
(as well as the majorityof his 1960's output) is a rural (sex-)drama that
differs from similar films by other directors not so much by its story (which
is rather routine stuff) or by the sex, bzut Meyer manages to infuse his story
with a certain rough-edgedness rarely found elsewhere. Lorna is full of shaped
out characters, sharp, poignant dialogue, actors with characteristic features,
and of course big-breasted women. Plus Meyer, a learned cameraman, knows how to
make the most of his rural locations, making them part of the story/the story's
atmosphere rather than a pittoresque backdrop.
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