Baby Face (VCA) Review

Reviewed by fu_q  on  12/13/2016

**Note – This review is based upon a VHS version of the film. As such, any bonuses haven’t been given a rating here, and there could be some discrepancies between this version and other releases.**

Review:
It's all fun and games for a hulking, presumed-dead construction worker-turned-gigolo (Dan Roberts), when he finds himself employed at a high-end brothel that caters to women...all after fleeing from an irate mother (Marion Eaton) upon having been caught boinking her (too-) young daughter (Lyn Malone) at a jobsite. Of course, as it turns out, mommy-craziest chances upon his newfound place of employment, putting both Dan...and ultimately her daughter...at risk, as well. Such is the case in "Baby Face", an exceptional, 1977 release from VCA and director Alex DeRenzy. Featuring an engrossing plot, strong character development and acting, and a solid cast including the likes of Kristine Heller, Amber Hunt, Sandy Pinney, and so on, this film really hits on every level. Indeed, it's as much a feature as it is a porno, and the storyline not only frames the sex well but gives it purpose and makes it all the more enjoyable. While the sex scenes themselves are many in number and relatively short in length, which is fairly typical for a release from this era, they're generally quite hot, as well. To this end, Kristine Heller's work (RIP) leads the pack, as she plays the drunken party-fiend to perfection in taking on both Dan Roberts and Joey Silvera in a threeway, and then--still unsated--she ushers in the rest of the gigolos of the house to run a train on her as she's suspended from the ceiling on a chair that serves as a makeshift sex swing. It's difficult to count just how much cock she takes in this fine fucking, but it's plentiful, as she goes oral, vaginal, and even anal, with various pops interspersed throughout. If it didn't, her work here should have won an award. Lyn Malone also plays her part well, throwing down some naughty nookie with both Roberts near the beginning of the film and Joey Silvera and Paul Thomas toward the end. Her clean-shaven mound is certainly something of a rarity for a film from this time period, and it plays well to her character...as does her youthful style of dress. Of course, there's plenty of other pairings, etc. to take in along the way, with the above merely serving as a smattering of highlights, and--given how much of the full package this flick truly represents--it's quite easy to recommend it. So...fans of features, Ms. Heller, and/or the Golden Age will definitely want to check this one out, if they haven't done so already. It's a true winner, and it will not disappoint.