

TEENAGE SEDUCTRESS
LITTLE MISS INNOCENCE
Color, 1972, 72m.
Directed by Chris Warfield
Starring John Alderman, Sandra Dempsey, Judy Medford
Color, 1975, 86m.
Directed by Chris Warfield
Starring Sondra Currie,
Chris Warfield, Elizabeth Saxon, John Trujillo, Sonny Cooper
Vinegar Syndrome (DVD) (US R0 NTSC) / WS (1.78:1) (16:9)
Only in Hollywood could someone have a career like Chris Warfield. The California-based filmmaker started off as a studio actor in
films like Torch Song and Diary of a Madman before turning to directing with Little Miss Innocence, his debut. He soon adopted the name "Billy Thornberg" for a decade-long stint directing hardcore films including the classic Champagne for Breakfast and one memorable Vinegar Syndrome double feature, Purely Physical and Cathouse Fever, but this double feature offers proof that he had the chops to make a film as good as any of his legit competitors at the time.
with some strong similarities to the much later Death Game from 1977, this is a great showcase for all three actors. The late Alderman had one of the strangest careers of the era as he bounced between mainstream-ish fare like Malibu Express, Superstition, New Year's Evil, and The Stunt Man, plenty of TV roles, drive-in junk food like The Pink Angels and Drive-In Massacre, and occasional hardcore porn (usually in nonsexual roles), and he always turned in good performances regardless of the material. One of the best of the softcore starlets (with some occasional hardcore thrown in), Dempsey's a familiar face from Vinegar Syndrome's The Suckers , Widow Blue, and Touch Me, as well as Something Weird favorites like Country Hooker and The Black Alley Cats. Medford, also known as Terri Johnson, racked up her share of softcore credits as well like The Jekyll and Hyde Portfolio, Below the Belt, and Drop Out Wife. This one came near the end of career, which closed out with another pairing with Dempsey in Video Vixens in 1975. (Incredibly, these were just two of four films the women made together.) Also behind the camera are two names very familiar to exploitation fans, cinematographer Ray Dennis Steckler (whose directorial career needs no introduction) and first assistant director and set decorator George "Buck" Flower, who bounced back and forth between softcore sleaze and mainstream bit parts. 

given away very early, so it's not a spoiler; instead we watch Terry bounce back and forth between plotting with Reggie and screwing with Preston's mind, leading to an emotional motel room reckoning.