From The Grindhouse Cinema Database
DISCLAIMER: The version reviewed here is the soft-core version as this film was made apart from Radley Metzger's pseudonym Henry Paris, which he adopted for his hardcore pornography output. It is the author's understanding that the soft-core version is the director-approved, intended version (rather than being a censored version of the hardcore cut) and belongs to his soft-core output - not the least in what form it has traditionally been remembered.
Radley Metzger’s Score is, although at some points dated, for the most part surprisingly contemporary. The major reason for this assessment is simply Metzger’s knack for beautiful visuals and composition. Metzger, who later ventured into hardcore pornography, is a reminder of the rapid degradation of the pornography genre following the introduction of video among other things. He is a reminder of a time when pornography was close to becoming a genre in of itself and when there were talented directors attempting to make narrative features in and around hardcore sex. Although Score, in its most common soft-core version, is more an example of sexploitation than hardcore pornography, it does speak highly of Metzger’s skill as a director.
The story concerns a swinging couple (it’s in the film’s view of sexuality that it seems somewhat dated) who answer advertisements for sexual partners and seduce couples in the surrounding town. Elvira, the wife, has had six months to seduce a young girl by the name of Betsy for a game the couple play and time is running out. With one more day left, she invites Betsy over for the day where she witnesses Elvira seduce a telephone repairman. That night, Elvira and Jack, the husband, have Betsy and her husband, Eddie over for dinner – with the ultimate aim being to seduce the couple. Elvira has until midnight to seduce Betsy, whilst Jack goes after Eddie (who has caught his fancy). This eventually, after supplying the couple with marijuana, leads to Elvira and Betsy upstairs in the throes of passion and Jack awakening the latent homosexual urges of Eddie in the downstairs den.
Whilst achieving beautifully composed shots and creating seamless cuts are the trademarks of a technically proficient director, all great directors understand the importance of theme – especially when composing these shots – and subtext. As usual, Metzger chooses his shots carefully, and whenever possible uses props to convey emotions and suggest sexual feelings and situations. Also deserving of praise is the musical score, which succeeds admirably in heightening tension and setting an erotic mood at the desired points in the story. It suits very well the style of the picture with the sexual tension between the couples rising over the course of the film before coming to a head gloriously with the inter-cutting of the two simultaneous sex scenes.
Reviewed by Angel