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Cassandra (Barbara Marks) has always been a good girl, but in her last
year of high school, she falls in with a gang of bikers and before long,
they persuade her to try marihuana - and according to 1950's logic, it's
only downhills from there: Due to her constant drug use, her grades
gradually fall, and after graduation, there's no place in college for her,
so out of desperation, she marries John (Robert Norman), the good kid
who has been in love with her for years. Married life gets to her though,
and before long she gets addicted to prescription drugs, then starts
hanging out with her biker friends again, and eventually she runs away
from home. In her search for drugs though, she soon crosses paths with an
undercover cop (Robert A.Sherry), who uses her to lead him to all the
pushers in town, and eventually, she's let off easily for her
(unwilling) cooperation. She's released to the custody of her husband and
parents, but soon enough, she runs away again, hooks up with heroin addict
Margo (Elaine Lindenbaum), and tries to start a drug ring of her own with
her - much to the dismay of a local drug kingpin (Joel Climenhaga), who
soon gets her hooked on heroin - and wasted on the stuff, she is one day
picked up in the streets by the authorities and put in a mental hospital -
where she is supplied with heroin by Margo, and from where she eventually
escapes to hook up with another heroine addict, Cholo (Bamlet Lawrence
Price jr), whose gang is specialized in stealing cars and driving them to
Mexico in exchange for smack. The police though has long grown wise to the
gang, and when the cops' trap springs, it's Cassandra who gets caught ...
and she is the perfect bait to capture Cholo as well, apparently. Not
a good film, but in the realm of drug scare movies, this one is just
great: It's matter-of-fact documentary style often clashes with its
depictions of the effects of drugs that couldn't be further from the
truth, its lack of on-screen duialogue (not of on-screen sound though) is
almost endearing for its cheapness, and its off-screen narration,
including its simplistic detuctions and accusing undercurrents, is almost
hilarious. Of course, taken seriously, this film would suck (which has
nothing to do with the message it's carrying by the way), but if you put
everything in a proper perspective, it's great entertainment.
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