I’d like to think that even if writer/director Michael Findlay could have afforded real credits for The Touch of Her Flesh, he still would have chosen to project them on the parts of a naked lady. Yes, Virginia, production value can be God-given.

Findlay also essays the lead role of Richard Jennings, and it’s no mystery why: so he could act out his sexual fantasies. His Richard is an author of a “weapons book” successful enough to send him on a business trip out of town. Seconds after he walks out the door, his wife, Claudia (the unimonikered but double-breasted Angelique, from Joe Sarno’s The Love Rebellion), welcomes her lover through it.

Having forgotten an item, Richard returns home, only to catch the two in the act. The shock sends him running into the streets, where he is “hit by a car and hurt very badly” (so says the doctor, twice). In fact, Richard’s lost an eye … and gained a thirst for revenge.

In the rare case when the film isn’t showing curvy dames undressing or writhing in the nude, it’s showing them befall a cruel fate. From a topless go-go dancer to a street hooker, Richard’s vowed to kill them all, whether via a rose with poisoned thorns, a crossbow or his own bare hands. When it’s Claudia’s turn, Richard takes time first to molest her breasts: “Let me see them again and feel them again before they die!”

Shot in black and white with sound recorded after the fact, The Touch of Her Flesh is padded with wall-to-wall lovin’ touchin’ squeezin’. It’s obvious Findlay had a type: naturally busty. So long as his women met that stringent qualification, nothing else mattered — not even Angelique’s armpit hair, not even a script. The project is completely inept, yet I couldn’t look away. Two sequels followed, because boobs. —Rod Lott

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