The Film (3.5/5)
Three scantily clad sibling farm fillies, Martha, Jane, and Beth, leer through their parent's, Shep and Kate's, steamy bedroom window, watching their folks romping on in their countryside house and on their shag carpet, until young farm hand Fred catches them in the act. When the sisters become sour about missing their parent's grand and explosive finale, the horny girls quickly devise a plan to wrangle the unwilling Fred toward the isolated pond house where they strip him naked, gang rape him, and, to add to insult, urinate on him. In the meantime, a trio of escaped convicts eluding police, invade at gun point upon the naked farm owner and his wife. The escapees also round up Shep and Kate's girls, beginning the many rounds of a rough and forceful game of sexual deviancies, including anal play, incest, and another prolonged stint of golden showers. Fred catches the convicts off guard, hijacking their rifle, but Fred won't relieve the family of their miseries as he's looking for sweet, sweet revenge against Martha, Jane, and Beth for shaming him earlier.
Zebedy Colt's ultra nasty adult film finds itself a good fit into the Impulse Pictures DVD collection. Set around a breathtaking farmland backdrop, the cock and balls are more prevalent than the cock and bull. Nearly indistinguishable from eccentric adult film director Phil Prince, Zebedy Colt employs similar extreme content, if not more intense than the Prince of Porn would ever divulge on camera. Colt's "The Farmer's Daughters" involves a little bit of everything from the innocence of peeping toms to the warm liquid assault of multiple golden showers.
Refreshingly enough, the cast authentically looks the part of backwood yokels. These aren't the expensively dolled up, cosmetically constructed, run-of-the-mill vixens and studs ramming each other with glistening lip balm or slicked back hair. No, sir. Martha (Susan McBain), Jane (Nancy Dare), Beth (Marlene Willoughby) and their mother Kate (Gayle Leonard) bare their all natural, God given bodies and complexions complete with hairy bush and unglamorous curves. Don't get me wrong. Gayle Leonard does sport sizable, voluptuous breasts and a shapely body for an older woman, while McBain, Dare, and Willoughby have youth and model thin frames to their advantage. The men are more of the stereotypical bumpkins with pooch bellies, scruffy rough five o'clock shadows, and an overall Deliverance look about them. The two cast members that surprise me the most for being in "The Farmer's Daughters" are director-writer-star Zebedy Colt and Spaulding Gray as one of the convicts.
Zebedy Colt, real name Edward Marsh, had some mainstream success very early on his career with minor parts in big named films such as "The Adventures of Robin Hood" with Errol Flynn and "The Ten Commandments" starring Charlton Heston. Then, there's Spaulding Gray who was much more successful later in his career and outside the X-Rated world; Gray, whose only performed in three adult features, even wrote a screenplay entitled "Swimming to Cambodia" in which award winning "The Silence of the Lambs" director Jonathan Demme helmed. Lets not forget to mention producer Leonard Kirtman, under one of his many monikers Leon de Leon, has worked alongside Colt in other adult films as not only an associate producer, but also as a director and writer.
The sex is inarguable very perverse and enticing, alluding to the underlining depravities that most of us secretly crave. Getting a hard on shouldn't be an issue. However, Colt's choppy and trippy editing style might cross your eyes and cause psychosis. Like aforementioned, Phil Prince and Zebedy Colt could have been cut from the same cloth. Even though the two directors share similarities in extreme sex, they're also very similar in budgetary forced rehashing of video and audio content. Sound bites and short clips are re-implemented for looping purposes as time length fillers, but in return induce stimulating headaches. Choppy editing has cast members with their shirts on, then shirts off, then shirts back on, then shirts off, then on, then off, and so forth in many of the sex scenes. Colt also loves his closeups. He loves the closeup shot so much most of the time all that is visible during these scenes are the glistening sweat and bulbous veins, flaps and folds, and the purplish blemishes on thighs and asses. Thank goodness for Colt's associative cinematographer Charles Lemont and his mise en scene eye as there are moments captured that are significantly powerful, even for a porn, or beautiful with the farmland setting. Yes, I know "The Farmer's Daughter's" sole purpose for existence is just to get one's rocks off, but every film needs some pride and not shameless editing or else every film will become generic stock.
The DVD put together by the fine folks at the racy Impulse Pictures has done relatively well with the original print considering and has presented the hardcore naughty-roughy in it's original 1.33:1 full frame. Most of the quality issues stem from the original print with scratches, grain, and other imperfections that, in all honesty, add to the grindhouse triple X charm. The Impulse Pictures team have made the colors pop, made the details richer, and I saw no sign of noticeably artificial enhancements, especially around the frame edges or amongst the skin tones. There are moments of slight overexposures during the closeups on the exposed skin that go almost completely whiteout.
The Dolby Digital 2.0 mono is par for the course with only a few moments of unbalanced clarity. The English language track is a bit scratchy and slightly echoey, but completely fine considering the material. The banjo riddled soundtrack keeps the hillbilly appearance in full fun effect, even if the track comes off a bit soft, seemingly going into a single channel at times.
The only extra includes a preview for 42nd Street Forever Peepshow collection.
Considered as being the pornographic doppleganger of horror's exploitive home invasion subgenre, "The Farmer's Daughters" leaves a squirmy, yet arousing, aftertaste. Zebedy Colt does the dirty, fulfilling his 1976 controversial classic with enough sex and rough play to choke a farm work horse. His editing techniques could improve, but there is something to be said about his editing style as his editing could be interpreted in more ways than one: does Fred the farm hand conjure up an idea of revenge on the farmer's ruthless and sleazy daughters or did the series of sex, murder, and incest all play out in his head? That's the kind of open ended questions taken from Colt's editing style, all of which are for the eye of the beholder.