Radio hosts and film fanatics Gillian (Darby Lloyd Rains) and William Blake (Levi Richards) have a fun a pleased (albeit quirky) marriage, except for one catch– he’s having an affair with Phyllis (Mary Stuart), their toothy assistant. Gillian even eavesdrops on one of their afternoon love sessions (one of the film’s comic highlights), and afterward at a outlandish suit party during which that babe meets several old acquaintances, the noble wife gives a decision to do a little raunchy sampling herself.
Each of Gillian’s affairs appropriately divides the film like a book chapter, the almost all memorable being her rencounter with Score’s Gerald Grant which cleverly plays out like a silent film. Henry Paris regular Alan Marlow too turns up for a daring, real life sequence in which he’s gratified by Rains on a double decker bus as they take a sunny journey of New York. The story moves quickly, and during the time that the sex scenes are probably the mildest of the Paris canon, they still generate some palpable heat. Rains in special acquires to lastly break loose in a leading role and proves herself to be a charming comedienne, often looking quizically at the camera for maximum effect.
In 1969, a torrid book called Naked Came the Stranger hit the bestseller charts and joined the ranks of tawdry potboilers from the loves of Harold Robbins and Sidney Sheldon. However, the difference here is that the whole book turned out to be a gag; the author, “Penelope Ashe,” was a pseudonym concoted by a group of writers for Newsday who every took a turn writing one chapter. Flash forward six years, when veteran softcore director Radley Metzger was looking for a second project to chase up the original story, The Private Afternoons of Pamela Mann, which proved to be his 1st totally hardcore venture underneath the name “Henry Paris.” Returning to the literary roots of his European erotica films, Metzger latched onto the novelized hoax and tweaked it into one more of his urbane, visually classy studies in the human libido. Fortunately it too turned out to be one of his funniest films, a bubbly and fast-paced trifle that plays like Ernst Lubitsch after a hit of rapture…
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