Sweet Sugar

Quality-wise "Sweet Sugar" is standard Women-In-Prison (though the setting is not exactly a prison, but a sugar cane plantation) fare, but it does make an effort to distinguish itself from the pack by mixing broad comedy (the heroine is injected with a drug that turns her on so much that she causes the machine she is connected to to explode!), sadistic violence (including involuntary cannibalism!), supernatural elements (one of the male prisoners knows voodoo and talks to "the spirits"), and just plain weirdness (coming mostly in the form of "the doctor", a creepy nutcase who like to perform "experiments" on the girls just for kicks). Phyllis Davis and Ella Edwards are both strong and attractive heroines, though not quite at the level of, say, Pam Grier and Margaret Markov. The film looks rather good, but it does not flow very well from scene to scene, and the sexy parts as well as the action parts are too short to satisfy. Worth a look for Phyllis and Ella. (**)

It is surprising that we did not see more of Miss Davis. A few Love American Styles, Sweet Sugar, Terminal Island, a Love Boat or two, Dan Tanna's secretary, and that was about it. Given her obvious "attributes" and her being such a good sport about sharing them with the camera, I would have thought producers would have been lining up to sign her. I could have seen her as a Charlie's Angel, as a Bond girl, as one of J.R. Ewing's other women on Dallas, and other things. Spoilers throughout from here: Here she plays what is described as a prostitute, although, she denies being one, who when caught smoking a joint, gets railroaded onto a sugar plantation prison for 2 years, and takes the deal rather than facing something worse(?). Actually it's not as bad as some prison movies. The prison is not as strict at times seeming like a summer camp- that is between torture, rapes,and the sexual based experiments from the prison warden, a dimented, cackling Dr. John. However, Phyliss is the star and she never loses that smirk. More accurately, the star is that body, which is accented with Daisy Duke type shorts and halter tops with, of course, no bra, as one of Dr. John's experiments seems to be how long Sugar's abundant bosom can remain firm while cutting cane every day without one. The catalyst that moves the plot along is when Sugar refuses Dr. John's advances and has sex with a guard, for which she is whipped. But just one stroke with the whip? In keeping with you the spirit of the movie, why not a hard paddling and having her rub a sore bottom instead? This one hits you with everything and if you only like half of it, the movie served its purpose.

Thanks to a friend I used to work with at a local video store, we had weekend contests to see who could find the Most Gawd-Awful Movie to play on the monitors...something so bad that it would stop the customers in their tracks from shock and disbelief. He thought he'd won with this hysterically bad gem, starring the amply endowed Phyllis (VEGA$) Davis as a horny free spirit, who gets spirited away to a prison/sugar cane colony in the middle of God-knows-where, after the local 'policia' frame her on a phony drug charge.

Covering all the bases, from mad-scientist flicks, women-in-prison movies, Seventies soft-core porn and badly made action flicks shot overseas on the cheap, it even throws in a little blackexploitation vibe with the faaaabulous presence of Ella Edwards. Cliff Osmond and Angus Duncan commit thespian thievery every chance they get, and Duncan seems to have popped in a set of steel dentures, as he gives every scene he's in a good going-over, like a fresh pack of Wrigley's.

The surefire way to know if you will love or hate this movie, is to find it under its original title and not any of the other name-changed versions. Because SWEET SUGAR may be the only version that contains that howler of a theme song, which sounds like the L.A. band X going on a HUGE acid-and-tequila bender in some South-of-the-Border dive bar, crossed with The Mamas and The Papas on Zoloft. If the priceless opening number doesn't do it for ya, you either need to switch to an actual film that has some tangible artistic value, or do what we did, and continue the quest to find the All-Time Worst Film on the shelf.

(In case you're wondering, BTW, I won the Contest after picking BLOOD ORGY OF THE SHE-DEVILS.)

Throw-away film with some fun topless shots of Ms. Davis. She fits a certain zaftig sexuality that was popular in T&A films of the '70s, and this one will meet your expectations if that's what you're after. The dialog is nonsense, but that's part of the format, really. Have fun, and don't let anyone make you explain your pleasures.

SWEET SUGAR is a cheap and derivative women-in-prison movie that seems to have been released to ride a wave of similar produce. This one introduces the main character, Sugar, in a brief set-up scene in which she's arrested as part of a drugs sting and sent to a rural prison "somewhere or other" where she forms part of a chain gang. Meanwhile, the women must deal with in-fighting amongst themselves, the machinations of the cruel guards, and the sadistic experiments of a mad doctor.

It all sounds very exciting and exploitational and yet it's really rather cheap and slapdash, just like Michel Levesque's other B-movie, WEREWOLVES ON WHEELS. Levesque seems interested in shooting a skin flick and a skin flick alone, so there's plenty of topless and rear nudity here but not much else in the way of suspense, tension, or violence.

I didn't mind Phyllis Davis too much as the lead. She's a top-heavy starlet clearly cast for her physique rather than acting ability, but she distinguishes herself quite well and there's something about her more than the usual bimbo actress. One of the most interesting things about the production are the authentically sweaty Costa Rican locations. Bizarrely, there are hints at voodoo in the narrative too, Timothy Brown playing a hilarious priest character who seeks to help the women. This isn't a film for cat lovers either. However, the resolutely plodding narrative mainly consists of escape and capture over and over again, and the air of familiarity means that this is a film only for sympathetic lovers of the genre.