Phyllis Stengel is the sexy standout in the otherwise forgettable (and forgotten) THE MODEL HUNTERS, which sounds like a Mickey Spillane book or movie but is just bland filler instead. IMDb classifies it as a "short subject", but that is merely a description of its surviving artifact (Something Weird unearthed it), shorn of a few minutes that had previously qualified it as feature-length.
A couple of gals including "Debbie Strange" as Emmy and Mary Jane Shippen as Kima (I heard her name as "Gemma") discuss the modeling profession, then have lesbian sex. I liked Strange's looks, but apparently she was a big-screen one- shot.
Kima gets an interview for a modeling job. The interviewer takes some nude photos, then humps her on a conveniently placed bed. (Some things never change in porn.) Emmy is jealous.
Next day busty Phyllis Stengel shows up, has lesbian sex, and is joined for a threesome by photographer Dave. Another shutterbug, John, seduces Emmy, while a jazz organ trio plays on the soundtrack.
Coda: Back home Kima is jealous, as Emmy is moving in with John.
How could they make a film with such a flimsy premise. Easy - nobody cared, and counter-intuitively, many years later with the advent of a new medium, several video companies exist to revive such false starts for a new generation with cash to spend, while the majority of Hollywood's mainstream films from decades back generate zero interest. It's a perverse demonstration of Gresham's Law.
A couple of gals including "Debbie Strange" as Emmy and Mary Jane Shippen as Kima (I heard her name as "Gemma") discuss the modeling profession, then have lesbian sex. I liked Strange's looks, but apparently she was a big-screen one- shot.
Kima gets an interview for a modeling job. The interviewer takes some nude photos, then humps her on a conveniently placed bed. (Some things never change in porn.) Emmy is jealous.
Next day busty Phyllis Stengel shows up, has lesbian sex, and is joined for a threesome by photographer Dave. Another shutterbug, John, seduces Emmy, while a jazz organ trio plays on the soundtrack.
Coda: Back home Kima is jealous, as Emmy is moving in with John.
How could they make a film with such a flimsy premise. Easy - nobody cared, and counter-intuitively, many years later with the advent of a new medium, several video companies exist to revive such false starts for a new generation with cash to spend, while the majority of Hollywood's mainstream films from decades back generate zero interest. It's a perverse demonstration of Gresham's Law.