When I chanced upon FANNY HILL at the local DVD rental shop, I only had a vague notion of either this version existing or of what the "classic" novel was about but since American sexploitation maverick Russ Meyer had made it into an intriguing movie himself back in 1964, I figured it was a bawdy period romp and, since I had been in a costume picture state-of-mind for a while now, I decided to give it a spin.
The presence of three veteran film stars (Oliver Reed, Shelley Winters and Wilfrid Hyde-White) was also enticing but, unsurprisingly, they are only there for marquee value: Reed's almost incoherent Popeye-ish accent is simply embarrassing, likewise watching flabby madam Winters being surrounded by all that petite naked flesh (not hers, of course, but that of her charges and their consorts) flailing about, but it's octagenarian Hyde-White (in his last film, no less) who tops both of them by snuggling in bed with the title character who is all of 19 years of age; I've seen Hyde-White in several of his earlier films and I'm positive he never performed a love scene in any of them!
Indeed, it's gorgeous leading lady Lisa Foster who, thankfully, indulges in much full-frontal nudity by shedding her clothing completely at every possible opportunity which, even in the heavily-censored variant I've watched, makes this consistently raunchy period piece tolerable; it's a pity that she didn't get much ahead in her acting career as one would certainly have liked to see even more of her. Interestingly enough, she later switched to doing animation work and was also involved in the digital restoration of Walt Disney's SNOW WHITE AND THE SEVEN DWARFS (1937)!
The orphaned innocent Fanny Hill soon falls in with some ladies of ill-repute as she reaches London to better her prospects, and is immediately instructed in what is expected of her by a more experienced companion Phoebe (Maria Harper) by jumping into bed with her, and later spying on their fellow co-workers in action through hidden holes in the wall BELLE DE JOUR (1967)-style! In fact, the film's plot line is very similar to that of Jess Franco's MARQUIS DE SADE'S JUSTINE (1968) and it's small wonder that the producer of that one, Harry Alan Towers, is also behind this production but, while I'd say FANNY HILL is a more agreeable picture, ultimately it's just too blandly made to stick in one's mind for much longer after it's finished.
The presence of three veteran film stars (Oliver Reed, Shelley Winters and Wilfrid Hyde-White) was also enticing but, unsurprisingly, they are only there for marquee value: Reed's almost incoherent Popeye-ish accent is simply embarrassing, likewise watching flabby madam Winters being surrounded by all that petite naked flesh (not hers, of course, but that of her charges and their consorts) flailing about, but it's octagenarian Hyde-White (in his last film, no less) who tops both of them by snuggling in bed with the title character who is all of 19 years of age; I've seen Hyde-White in several of his earlier films and I'm positive he never performed a love scene in any of them!
Indeed, it's gorgeous leading lady Lisa Foster who, thankfully, indulges in much full-frontal nudity by shedding her clothing completely at every possible opportunity which, even in the heavily-censored variant I've watched, makes this consistently raunchy period piece tolerable; it's a pity that she didn't get much ahead in her acting career as one would certainly have liked to see even more of her. Interestingly enough, she later switched to doing animation work and was also involved in the digital restoration of Walt Disney's SNOW WHITE AND THE SEVEN DWARFS (1937)!
The orphaned innocent Fanny Hill soon falls in with some ladies of ill-repute as she reaches London to better her prospects, and is immediately instructed in what is expected of her by a more experienced companion Phoebe (Maria Harper) by jumping into bed with her, and later spying on their fellow co-workers in action through hidden holes in the wall BELLE DE JOUR (1967)-style! In fact, the film's plot line is very similar to that of Jess Franco's MARQUIS DE SADE'S JUSTINE (1968) and it's small wonder that the producer of that one, Harry Alan Towers, is also behind this production but, while I'd say FANNY HILL is a more agreeable picture, ultimately it's just too blandly made to stick in one's mind for much longer after it's finished.