They're the erotic toys of the mindless generation... trapped in a never-neverland of distorted sexual practices

Melvin lives a boring life, running an antique shop and sneaking off to 42nd Street to watch dirty movies, while dreaming that he too may some day seduce a woman. One afternoon, he finds a strange old urn that, when rubbed a special way, unleashes a genie capable of satisfying his every wish.

An attractive but conservative mid-30's housewife stays at the house of her sexually open daughter and soon becomes involved in her daughter's swinger lifestyle.

“At the height of his creative output, director Joe Sarno was known for flinging out an ungodly number of softcore films each year with a surprisingly high standard of quality. Psychological insight, intensely erotic love scenes, and off-kilter dialogue were his stock in trade with films like All the Sins of Sodom and Young Playthings, but sandwiched in between these are some really oddball ones. Case in point: Marcy, a 1968 hayseed melodrama that feels like a stylistic precursor to the country cutie smut films of Harry Novak the following decade like Sassy Sue and Country Cuzzins, albeit with a lot less of that cornpone humor. The plot also feels like sort of a deep-fried riff on D.H. Lawrence’s The Fox, believe it or not, which Norman J. Warren also turned into a sex/sci-fi trash classic with Prey.
The plot’s pretty simple. Out in the boonies, young Marcy (Love Toy’s Uta Erickson) has shacked up with the older June (Submission’s Britt), and word spreads like wildfire that the two women are enjoying each other’s company in a way that keeps �em really, really warm at night. Their handyman insists he hasn’t seen the women actually having sex, but they do tend to “rassle around on the ground outside” before retiring to their bedrooms. Hmmm. Muddying the waters even more, the local men all seem intent on bedding both of them to prove that it only takes the right man to make a girl swing, and the advances aren’t always refused. Of course, it’s only a matter of time before we find out what’s really going on as one of Sarno’s trademark girl-on-girl scenarios finally plays out for the camera.

Abigail Leslie has been away for years but has now returned to the small town of Baypoint, where her sexual appetite made her infamous. Abigail is a woman who is serious about her carnal pursuits, and upon her return she immediately re-establishes her pursuit of the flesh of a lonely tomboy who has a longing for her brother, a repressed housewife who harbors a hidden love of the ladies, and a troubled husband and wife, Abigail having seduced the husband prior to her departure years earlier.