We have one of early porn's least appealing leading men Adam Ward dominating a high-concept, low-quality movie. He's one of three kidnappers (plus lovely Ally Sheedy-styled Jill Sweete as their confederate) who've grabbed five ladies, one of which is supposedly the correct daughter being held for ransom. That's the entire plot line, which after a brief outdoors opening scene of the grab, proceeds to unfold on two very fake, under-dressed studio sets.
Primitively filmed mainly in continuous take master shots, this desultory porn exercise is utterly routine. Each of the guys takes turns forcing one of the five gals to have sex with him in a bedroom that merely has a mattress set up on wooden blocks, not even a real bed (cheap as it gets). At one point Sweete watches and masturbates, joining in for a tiresome threesome.
It is Ward's usual stream of porn-consciousness improvised dialog that dominates, as he rapes a 14-year-old hostage girl, talking her endlessly through various sexual positions in obvious pandering to the target Adult Cinema audience (circa 1970/71), where "no means yes" is part and parcel of an unhealthy attitude towards womankind. Modern terms like "politically incorrect" are 100% meaningless in the context of such primitive porn sensibilities.
The girl cries and keeps on expressing her pain ("It hurts!"), asking Ward to stop. Here was the possibility of creating a "roughie", so popular in the softcore late '60s, and later revived in the heavy S&M features of the late '70s. But the anonymous mavens who made SNATCHED WOMEN were timid souls, and the sex scenes have each girl acquiescing to rape, or even enjoying it.
The guys have a pow-wow minus Sweete halfway through the film where they announce that they will kill all the girls after getting the ransom money. Supposed "shock" ending is completely defused by this scene, and the only unresolved question left for me when this junker finally concluded was whether Sweete was included in the off-screen slaughter.
Editing, especially the sound editing of snatches of piano jazz and clashing muzak, is extremely poor. Like many another bottom of the barrel porn outing, that lousy hit of yore "Classical Gas" is played several times, this version featuring a banjo!
