It’s an amus­ing lit­tle irony of exploita­tion film his­to­ry that Fred Lincoln, who played one of the scari­est screen sociopaths ever in Last House On The Left, would lat­er go on to direct a (lit­er­al­ly) touchy-feely “cou­ples movie” for the adult film mar­ket.

The film in ques­tion is called Oui Girls and starts off as a riff on detec­tive films, with Nick (Paul Thomas) enlist­ing the help of his nubile but inex­pe­ri­enced assistant Barbara (Anna Ventura) in an under­cov­er oper­a­tion.  He wants to inves­ti­gate a case of mur­der-for-insur­ance and that requires the two to pose as a hus­band-wife team at a swinger’s hotel.

That said, the script for Oui Girls must have been writ­ten on the backs of cock­tail nap­kins because it gets mud­dled as soon as they reach the hotel and the sex begins.  In fact, the plot gets blithe­ly thrown away about two-thirds of the way in.  However, fans of vin­tage erot­i­ca won’t care because Lincoln fills the run­ning time to the brim with plen­ty of sex sce­nes that incor­po­rate the likes of Lisa DeLeeuw and Sharon Kane (she looks like a butch, new wave ver­sion of Courtney Love here).

Lincoln is pret­ty enthu­si­as­tic in his stag­ing the set­pieces, par­tic­u­lar­ly a “swinger’s par­ty” that clos­es the film.  He occa­sion­al­ly gets fan­cy with cin­e­mat­ic tech­nique, like a mem­o­rable scene where two lovers do a sort of bal­let-styled dance as fore­play and then have sex that is just as chore­o­graphed and dra­mat­i­cal­ly edit­ed.  Overall, it’s an amus­ing­ly goofy exam­ple of the “cou­ples movie” that offers kitschy fun for fans of this mate­ri­al, com­plete with a campy the­me song penned by star­let Tiffany Clark.

DVD Notes: Impulse Pictures fol­lows up past Fred Lincoln DVD’s like Same Time Every Year and Serena: An Adult Fairytale with a new, anamor­phic trans­fer of this film.  The ele­ments used are a lit­tle tat­tered near the begin­ning and end but the major­i­ty of the trans­fer looks sharp and col­or­ful.  Fans of vin­tage adult fare will want to pick it up, as it’s still a rar­i­ty to get prop­er cel­lu­loid-based trans­fers of films this old.