Written by: George Pacheco on April 14th, 2015
Theatrical Release Dates: USA, 1973 (Little Miss Innocence), USA, 1975 (Teenage Seductress)
Director: Chris Warfield (Both Films)
Writers: E.E. Patchen (Little Miss Innocence), George Flower (Teenage Seductress)
Cast: John Alderman, Sandy Dempsey, Terri Johnson (Little Miss Innocence), Sondra Currie, Chris Warfield, Elizabeth Saxon, John Trujillo, Sonny Cooper, Gwen Van Dam, Michelle D’Agostin, Eddie Ryder, Claudia Smillie (Teenage Seductress)
DVD Release Date: April 14th, 2015
Approximate Running Times: 72 minutes (Little Miss Innocence), 86 minuntes (Teenage Seductress)
Aspect Ratio: 1.85:1 Anamorphic Widescreen (Both Versions)
Rating: XXX (Dixie Ray Hollywood Star) and R (It’s Called Murder Baby)
Sound: Dolby Digital Mono (Both Versions)
DVD Release: Vinegar Syndrome
Region Encoding: Region 0 NTSC
Retail Price: $19.98
This double feature from director Chris Warfield possesses a running theme of sorts, as both films originally made their 1970s drive in run under the titles of Teenage Innocence and Teenage Seductress.
The first picture-titled here as Little Miss Innocence-is the superior of the two, detailing the plan of a duo of runaways (Sandy Dempsey and Terri Johnson) who shack up with a middle-aged Capital Records exec (John Alderman) in an attempt to fleece some money, food and shelter. Dempsey and Johnson soon overstay their welcome with Alderman, however, despite their relentless sexual appetites wearing down the increasingly suspicious exec night after night. The tension mounts when the couple blackmail Alderman by revealing Johnson’s real age of seventeen, and threaten to expose their goings on to the police. It’s a battle of the sexes from that point on, as the hippie runaways and The Man play sexual and humiliation games until the film’s climax.
Little Miss Innocence benefits from a lean running time of 72 minutes, ensuring that the film’s flimsy premise never quite overstays its welcome. The adult content never goes overboard, either-despite some rampant nudity-foregoing most of the simulated sex in favor of dramatic dialogue and characterization. This end result keeps the viewers interest, although it must be said that Little Miss Innocence does not lend itself well to repeated viewings after the initial setup unfolds and resolves.
Teenage Seductress fares a bit worse with regards to retaining that viewer interest, despite possessing an even sleazier premise. This time around, director and star Warfield follows the lovely Sondra Currie around as she attempts to track down and seduce her father, who abandoned her as a child and left her with severe sexual neuroses. Currie’s quest is compounded by repeated visions of her overbearing mother, who instilled a hatred of men and sex throughout her childhood.
Sadly, Currie’s performance is profoundly annoying in her obsession, incessantly whiny and scheming her way into Warfield’s life via one hair-brained idea after another…although, in hindsight, this perhaps is due more with George “Buck” Flower’s script than anything to do with Currie’s acting. The camera certainly loves Currie here, with the actress’ natural, ravishing beauty projecting itself in every scene and stealing the show. It’s a shame, then, that Teenage Seductress really fails to deliver the exploitation goods, other than that bonkers, “only in the seventies” storyline.
Both Teenage Seductress and Little Miss Innocence are presented in their original 1.85:1 aspect ratio, and with their original trailers. There’s a nice amount of natural grain to both pictures, although Little Miss Innocence does fare a bit better when it comes to the sharpness and clarity of Ray Dennis Steckler’s photography. It must be said that the dubbed in dialogue can be particularly distracting for both films, although it’s thankfully used sparingly, primarily during travel scenes, to eliminate background noise while simultaneously delivering expository information.
The only extra here is an alternate title card for Little Miss Innocence, leaving this presentation by Vinegar Syndrome as basic but certainly serviceable, with the major selling point here being Sondra Currie’s extraordinary beauty and cinematic presence.