Lesbianismo asesino

Mary Woronov and Lynn Lowry are usually watchable in anything and that's still true for Sugar Cookies - a sleazy sexploitation thriller without many thrills.

It's too silly and campy to be taken seriously as a sex film, but there aren't enough genuine thrills to enjoy it as a straightforward thriller. I'm still not sure what the chubby cross dressing guy had to do with anything. Was he just there for filler?

Anyway, it's about a sleazy sex film producer who kills one of his stars during a sex game and makes it look like a suicide. The star's lesbian lover searches for someone who looks just like the dead star so they can carry out some form of revenge. There are a few too twists and turns to keep us interested and the ending just sort of dribbles out, but it's always nice to see Woronov and Lowry.

I am amazed Lynn Lowry never became a bigger star. She is beautiful in a unique way (not "movie star" beautiful; her beauty is much more natural) and actually manages to act (and act well!) despite the dreadful roles she is usually given. This is particularly the case in Sugar Cookies. Terrible movie no matter how you look at it. Unless you look at Lynn Lowry. It was her beauty, her charm, her grace, and yes her acting that kept me engaged throughout an otherwise dreadful experience. Mary Woronov is a good actress also, and she and Lowry played off each other well. Ladies & Gentlemen - you really have to check Ms. Lowry out! Her characters are always memorable, even in small roles such as the one Paul Schrader gave her in his remake of Cat People. Alas, we never did see this once budding talent be given the proper opportunities to fully develop her craft before our eyes. This is the only tragedy regarding Sugar Cookies that is worth discussing.

In 1973, the year before Lloyd Kaufman formed Troma Studios in order to churn out his particular brand of trashy low-budget B-movies, he helped produce Sugar Cookies, an experimental sexploitation flick starring Lynn Lowry (The Crazies, Shivers) as aspiring actress Julie Kent, who is tricked by lesbian seductress Camilla (Mary Woronov) into helping avenge the murder of her lover.

Loaded with dreadfully dull dialogue, languorous scenes of supposedly emotionally intense drama, and of course, plenty of nudity, this sort of ponderous, progressive, art-house styled erotic nonsense might have gone down well with a crowd of enlightened (ie., stoned), sexually liberated hippy types several decades ago, but will seem laughably dated to a modern audience. Even connoisseurs of cult cinema keen to see unconventionally attractive amazonian cult actress Woronov and frisbee-nippled Sissy Spacek-alike Lowry strip off and get it on will probably find this film a struggle.

The 2 lead females are stunningly sexy. The eroticism between Lynn and Mary is realistic and hot. Both of these women's acting is quality.. There is a gorgeousness to this film---for example the plush interiors and the tasteful stylish clothes the characters wear. The plot seems to come at the very beginning and at the end. Mainly what we have in between is Lynn and Mary becoming friends and lovers. There is a comic character---an overweight young guy---but his parts do not fit in very well with the rest of the movie. Nevertheless, whatever comic relief he provides helps to off-set the serious, heavy mood.

Starting off, here's a synopsis: Porno queen Alta Lee (Lynn Lowry) is murdered by her pornographer lover Max (George Shannon) in a game of sexual Russian roulette. Alta's other lover, icy lesbian casting agent Camila Stone (Mary Woronov), provides an alibi for Max. But Camila has an agenda of her own, and a plan involving the seduction of innocent actress Julie (Lynn again) in a web of sexual mind games. When the lookalikes' identities are sufficiently blurred, the stage is set for vengeance as passionate as the most heated carnal encounter.

Though this movie is quite obscure and never got much attention, I find it to be a sexy, suspenseful gem. Cult goddess Woronov has one of her best-ever roles, and she and sexy-innocent Lowry play off each other well. The unsettling music provided by Gershon Kingsley, plus two original songs ("All-American Boy," "You Say You've Never Let Me Down") and the Jaynetts' "Sally, Go 'Round the Roses" compose a memorable soundtrack. Theodore Gershuny's direction is sharp, with everything photographed in muted earth tones that perfectly suggest unsavory business bubbling under society's upper crust. With tons of great New York atmosphere, Ondine (Woronov's friend and fellow Warholite) giving a great performance in a small role, and exotic Monique Van Vooren as Max's ex-wife in a comic sub-plot. This sub-plot, though amusing, looks like it belongs in another movie altogether. However, I'm not complaining, as the film is smooth even as it changes gears and is a hell of a lot more interesting that the erotic-thriller garbage currently being cranked out.

Trivia: Sugar Cookies was originally rated X (soft-core) and released by General Film Corporation in 1973. I am the proud owner of an original one-sheet poster--lucky me! In 1977, the movie was cut for an R and re-released by Troma Team, which now offers it uncut on videotape. Mary Woronov was the wife of Theodore Gershuny at the time, and was reportedly uncomfortable performing the graphic lesbian simulated sex scenes with him leering behind the camera. She can also be seen in two of his earlier productions, Kemek (1970) and Silent Night, Bloody Night (1972).