Nick Millard – Wendy’s Naughty Night (1972)
Coming toward the end of Nick Millard’s porno career, Wendy’s Naughty Night exemplifies why he gave up the ghost of being an erotic director. Hardcore had arrived and he was too bored to adapt to its pre-eminence in the marketplace.
Running at 90 minutes is the longest of Millard’s sexploitation output in the 70’s. It can only be enjoyed by fans of Nick’s particular oft-appearing fetishes & techniques: lovely female nipples, patent-leather boots, black stockings or patterned hose plus garter belt, shoe/foot fetishism, lesbian sex, softcore tease, harsh lighting & gaudy pastel color schemes.
The single improvement here is Nick’s dropping of the annoying female narrator who drives one up the wall reciting his nonsensical purple prose in voice over on dozens of his films.
Instead, “Wendy’s” has three talkie sequences, all poorly done with bad sound editing, uneven sound levels, bored/flat readings by star Eve Orlon & co. Though Nick began his career doing talkies a decade earlier with “Nudes On Credit” he apparently forgot the technique due to relying on MOS shoots (without sound) ever since, and it shows here. Film appears to have been conceived as a softcore film. Opening scene has Eve Orlon as Wendy humping her creepy boy friend and red-monochrome closeup shots are inserted in the action to give some hardcore credibility that the marketplace demanded at the time.
Orlon was a popular hard porn actress, but she does not participate in any insertion shots at all in this one. Later in the film there are several hardcore sex sequences, but they are merely shot like loops, thrown into the film with Orlon merely watching as a voyeur, the oldest trick in the book.
Flimsy plot is introduced in a direct sound conversation, positing Wendy as a student living off her rich parents (she even absurdly drives a Jaguar), and supporting her would-be writer of a boy friend Steve (John Paul Jones). He’s instantly dislikable, cheating on her with an attractive blonde girl early in the film.
She visits her shrink and explains in the second direct sound sequence that she prefers lesbian sex, illustrated by a lengthy flashback of her with beautiful blonde Barbara doing what comes naturally. Plus shoe-in-crotch action.