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Babyface (1977)

Babyface is DeRenzy’s masterpiece film and ranks as one of the all time erotic efforts. The film has everything needed in a classic — humor, plot, production, pace and sensational sex scenes. Despite the comedy, there are scenes that some people may feel uncomfortable about, but it’s only a movie, folks and the kind that porn fans rave about.
Dan Roberts plays the protagonist, and the plot centers on the bizarre events that happen to him. He is a big, lumbering workman who meets teenager Lyn Malone. The girl is a willing participant, but her mother and a policeman, played by Oakland Raider football star Otis Sistrunk, think it is r*pe. Following a narrow escape, he is pulled unconscious from the water by Amber Hunt. With no prospects and needing a place to hide, Amber finds a most unusual solution. He becomes a stud at an oddball cathouse that caters to rich women. The film actually opens at the cathouse with Dan servicing Desiree West. His flashback to what brought him there includes a three-way with Linda Wong and Amber. Studs like Paul Thomas, the main man at the house, Dan, Joey Silvera, Turk Lyon, John Leslie, Ken Scudder and Blair Harris service the female customers that include Sandi Pinney and Kristine Heller. The girl’s mother is a classic example of hypocrisy and not as puritanical as she lets on, since she is a regular visitor to the house. During her scene with Dan, she recognizes him and plots her revenge. He is sapped by sex and wound in saran wrap, then threatened not with castration, but dismemberment. Babyface offers some of the best scenes ever placed together in one film. The young Lyn Malone, with perfect breasts and shaved vagina, is fantastic in her scene with Dan and their size difference offers contrast. It was to be her only porno appearance. The highlight of the film is with one of the unsung heroines of adult films, Kristine Heller. She can be found under dozens of aliases in many films, usually under the name of Kathy something. Kathy is her real first name, but her last name is always a pseudonym. She plays rock singer Marina Rondoff, and her request at the house is for more men, culminating with a ten man gang-bang. It is an all time scene. Babyface is virtual perfection for true porn buffs.

This classic can be described in a single word: variety. It’s graced with a diverse ensemble cast filled with potential and a packed story with almost no wasted or aimless efforts in its fast 105 minutes. Displaying wide-ranging skill deftly touching on several genres, Babyface succeeds in presenting elements of action, comedy, suspense, horror, fetish, and indie quirkiness. Even a softcore teaser is squeezed into the opening sequence, which indicates well-seasoned filmmakers who know how to draw an audience in.
The film’s title and opening sequence tease the viewer, as do several other instances in the screenplay. And this offbeat movie even ends in an unusual and unpredictable fashion, a likely bid to leaven the serious plot climax in the audiences’ minds. Some minor problems crop up in this fast-paced feature, as finer story details risk being overlooked by the audience. Also, twice the wrong name is used in reference to someone not on screen, which shows how the large cast can cause confusion among the actors themselves. With such a densely packed film, a few sex scenes do suffer from some hurried and disjointed editing. However, each sequence smoothly lays across another on the screen, quickly papering over through distraction any flaws of its predecessor.
Most of the actresses’ sexual performances contain instances of nuanced reactions, portraying natural-appearing concentration in enjoyment of the sensations. No over-acting gestures or noises drone or overshadow throughout any girl’s entire performance. In fact, there’s a marked improvement between the first intimate act’s beginning and ending reactions by the actress involved, which indicates an observant and adaptive crew. A problem plaguing many gang-bang shots, the obscuration of the actress, does not arise here–the first movie reviewed to solve it. The crew wisely elevates the actress in a makeshift swing to waist-level of a standing man, eschewing double penetration for missionary sex and keeping her fully in frame throughout the majority of the act. Most other movies have the actress down closer to the floor, which forces the camera to be neck deep in a sea of cocks. Since mainstream adult movies are awash in fellatio shots–the fewer unnecessary cock views elsewhere, the better.
Returning to its quirky independent-film aspect during the film’s closing minutes, Marion Eaton carries it entirely on her slim and surprisingly lovely shoulders after a stiff start reciting her lines. Although wacky and silly in her initial appearances, she also brings a striking depth of sadness and anguish that evokes comparison to Isabella Rossellini’s compellingly tormented performance later in David Lynch’s Blue Velvet (1986). Some people may find her wide-eyed expressions and unadorned features off putting; however, in just a coiled pose, her delicate figure quivers with a raw energy that’s undeniably alluring and untamed. Despite the faddish style of the period’s aesthetics, the production value stays consistently of high quality throughout the picture, utilizing the project’s resources masterfully. A fun classic which should be required viewing for anyone interested in erotic cinema’s Golden Age, Babyface remains splendidly entertaining in any era.

  • Scene 1. Angela Haze, Dan Roberts
  • Scene 2. Desiree West, Paul Thomas
  • Scene 3. Lyn Malone, Dan Roberts
  • Scene 4. Angela Haze, Dan Roberts
  • Scene 5. Amber Hunt, Linda Wong, Dan Roberts
  • Scene 6. Desiree West, Paul Thomas
  • Scene 7. Amber Hunt, Desiree West, Paul Thomas
  • Scene 8. Sandy Pinney, Dan Roberts
  • Scene 9. Charla Miss “42”, Joey Silvera
  • Scene 10. Kristine Heller, Dan Roberts, Joey Silvera
  • Scene 11. Angela Haze, Kristine Heller, Blair Harris, Dan Roberts, Joey Silvera, John Leslie, Ken Scudder, Paul Thomas, Turk Lyon, Unknown Male 323-A, Unknown Male 323-B
  • Scene 12. Molly Seagrim, Dan Roberts
  • Scene 13. Lyn Malone, Joey Silvera, Paul Thomas