Lorna - Zuviel für einen Mann

After spending the first few years of his career on traditional 'nudie cuties', director Russ Meyer made his first foray into 'real' film- making with 1964's Lorna, written by and starring James Griffith. Though his colourful visuals and sense of humour were evident in the likes of The Immoral Mr. Teas (1959) and Eve and the Handyman (1961), these films were still very much confined to being nothing more than a peep show. With Lorna, Meyer resorted to black-and-white photography, but whether this was for budgetary reasons or stylistic choice, I don't know. But the decision to shoot this way gives the film more gravitas, and the attention is moved away from the big-breasts and onto the story and script, giving birth to the auteur that is now so revered.

Beginning with the rape of a girl named Ruthie (Althea Currier), the two men responsible, Luther (Hal Hopper) and Jonah (Doc Scortt), travel to work and pick up Jim (James Rucker) on the way. Jim is married to the beautiful Lorna (Lorna Maitland), who is sexually unsatisfied by the nice-guy Jim. Luther proceeds to tease Jim about Lorna at work, while an escaped convict (Mark Bradley) forces himself onto Lorna. Lorna is extremely turned on, and invites the convict back to the house where she feeds and washes him. Clearly, it's not the most complex of plots, but we are in familiar Meyer territory with square-jawed men, put-upon women, and a funky jazz score.

One of the most familiar traits of a Meyer film is the narrator. Commonly, the role of the narrator in his films was to play the traditional man, one that obeyed the values and traditions of the 1950's American. The idea of sexual repression was clearly something that amused Meyer, and in Lorna, he employs James Griffith to play 'the Man of God', who is littered throughout the film addressing the audience directly to camera and questioning their moral fibre. He introduces the film, and this leads to one of the best moments in the films. He stands in the middle of a wide desert road, allowing the camera to glide past him and forward into the unknown as the jazz score kicks in. It's a lovely little touch, and a clear indication that this isn't simple another nudie-cutie.

This is far from his best work, with Lorna being relatively subdued in comparison to his more wilder visions such as Faster, Pussycat! Kill! Kill! (1965) and especially Beyond the Valley of the Dolls (1970), and Lorna's pandering to the violent convict may seem rather chauvinistic in comparison to the majority of Meyer's output, where the female was quite often the dominant sex. But this was only the beginning of a now widely- celebrated career, so Meyer was still very much honing his craft. His sense of humour is unmistakable however, and one of the standout scenes has the despicable Luther writing and performing a song about Lorna's adultery to Jonah. It's played out so naturally that the two start to really laugh, making the scene really quite wonderful. It's this kind of playfulness that make Meyer's output such as joy to watch.

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Lorna is an early Russ Meyer film, but features many themes that are common in his later films - sex and violence obviously, but we also have religion, morality and a surrealist element. The film is slightly similar to Russ Meyer's 1965 film Mudhoney in terms of style and plot, and the fact that both films star the buxom Lorna Maitland as well as the sleazy Hal Hopper. Russ Meyer would become famous for completely over the top sex films such as Supervixens and Up. This film is not as over the top as the aforementioned titles; but it's still firmly in Russ Meyer's style and there's plenty for sleaze fans to enjoy. As the title suggests; the film focuses on Lorna, the buxom and beautiful wife of Jim. Lorna is bored because Jim, despite being a nice guy, is not exciting enough for her. He goes to work one day and Lorna happens across an escaped convict, who proceeds to rape her. Excited by this man, Lorna takes him home and falls in love with him. Things come to a head when Jim returns home from work early...

It's easy to pass a film like this off as 'trash' and it's certainly not an 'a-class' film; but there's actually a lot more going on here than meets the eye and Lorna has an advantage over later Meyer films in that it actually seems to want to make some points about love and infidelity. Aside from a bit of substance, Meyer has also given the film a good style; the clean black and white picture looks great and the film has a 'pulp fiction' feel to it throughout. The cast is very good too. Of course, the titillating Lorna Maitland is the main standout and she performs well. The film also features Hal Hopper who would also work with Russ Meyer on the later Mudhoney. It's a real shame that they weren't able to make more films together because Hal Hopper really fits Meyer's style and both of his performances for Meyer were excellent. The film flows well throughout and is constantly entertaining, which is definitely a good thing. It all boils down to a good and fitting ending and on the whole, I certainly would not hesitate to recommend Lorna to my fellow Russ Meyer fans!

Lorna Maitland was one of Meyer's rare "finds." Physically stunning but as easily engaged as was the earlier Monroe, one easily fantasizes a personal encounter with her. The river bathing scene, partially obscured by tree branches, makes you her willing voyeur; her eventual passionate response to the convict escapee who rapes her, tells you that you might also have your way with her should you ever somehow meet.

I found the violence in the film to be gratuitous albeit realistic and disturbing; as in Cherry, Harry, and Raquel, a later Meyer (color) film, the viewer is torn from (his) fantasy of passion and plunged into anger and terror. Why Meyer felt he had to mix the two escapes me, but therefore, his films are doubly memorable; along with the river scene, the shotgun blast from under the hood of the old car is equally etched.

Lorna Maitland, like Roberta Pedon of another genre, had a short stay in the limelight; with their early passing, they share a unique, cult-like icon status.

Exploitative tale of rape, betrayal, and murder set in sordid shacks of the modern South. Incredibly endowed Lorna (Maitland) is wedded to straight-laced CPA-wannabe, but in the legal sense only. She meets up with an escaped convict (Hooper) who rapes her and makes her like it, but she eventually trots back to her man and receives some harsh treatment at the hands of misused garden tools. It all sounds pretty extreme, and it is, and carried off with unique style but sometimes hasty direction. Some lovely shots, brutal violence, and sexy Lorna add up to a cheezy, trashy feast.

Not quite as good as the similar "Mudhoney", but much better than most of Meyer's 70s product.

Meyer is at his beginning's of film-making (esp for what was to come) when Lorna came out. An earlier commentator remarked it has a very (since it's shot in B&W) film noir quality to it. I agree but it's more like American film noir say -- for the bold rape scenes are over the top. However, if gritty fiction with this type of scenes depicted you like, this movie may be for you -- it's that '60's camp feel that really doesn't let most viewers take it too seriously, I think. An 8 was fair because anything Meyer does I am partial to because of his unique style, independent spirit and sense of creating something different in a time when people were jailed, or at least critically blasted as "pornographers". Meyer was not this though. He was always more interested in telling a coherent, fast-paced story & filming what was going on above the waist -- but spicing it up with (real) buxom women who mostly held the "power" over men (esp in later Meyer films) was his real signature style that will hold Meyer up as the best B-grade movie maker of all time. KING LEER - R.I.P. in that big bosom in the sky!