A helpful country ballad explains the dumb title of THE LIKES OF LOUISE -it's merely a catch phrase meaning something approximating "you've never seen the likes of whom", applied to the boring title character. Except for appearances by porn Hall of Famers Helen Madigan and Jamie Gillis it has no reason to exist four decades later.
Opening has a redheaded beauty humping Pete (Gillis) by a roaring fireplace, with the memorable theme from "A Summer Place" on the soundtrack. He calls up Al (porn stalwart Paul Scharf) who's making love to Phyllis (Madigan). Pete reports that his wife Louise has left him after she discovered he was playing around.
Typical of the "full speed ahead" sloppy approach here, Madigan calls Al "Louis" at one point, and then corrects herself, stating "I forgot your name was Al", certainly cheaper than shooting a second take. Film certainly gives the impression of having been made on a 1:1 shooting ratio.
Jamie does his standard routine, muttering orders of what his girl should do while they're having sex. This is one of Gillis' least interesting speaking roles.
Cross-cutting reveals that the anonymous director digs cunnilingus, shown in tight closeups ad nauseum here.
Wandering outdoors Louise is introduced being picked up by a goof-ball with a thick European accent in a Cadillac. At his pad she proves uncomfortable with small talk dialog, getting down & dirty quickly as the Beatles' too-often pirated "Ob-La-Di, Ob-La-Da" plays in Muzak version. She calls this new character "Al" by mistake.
A fourth couple consists of a mustachioed guy and a dirty blonde. He tells her of trailing Louise to the Cadillac man's apartment and spying on their lovemaking. Theme from "The Godfather" plays pointlessly.
Mustache man calls Al, asking him to help their mutual buddy Pete with his Louise troubles. He's got an "idee fixe" problem, constantly repeating over and over what "a bad scene" it is involving Louise.
After ejaculating on Louise's face, the European guy has to leave suddenly (as so many porn characters are wont to do), Louise remaining in his apartment. Al & Pete arrive and have a ridiculously stupid improvised conversation, the gist of which is that Al wants to help Pete by joining in a threesome with his wife Louise (thanks a bunch, Al!).
At one point Al calls Pete "Al", his own name! The resulting troilism scene is eccentrically scored to a reggae beat version of "Yankee Doodle Dandy" (I like to think this inspired Serge Gainsbourg to similarly tinker with "La Marseillaise" a few years after), and a more thematically appropriate Muzak version of "The Third Man" theme, with Al the odd man out here.
The theme from "Cabaret" chimes in for Gillis' cum shot with wife Louise, followed by Al giving her a facial. Dumb ending has Al pledging to "help" the couple in similar fashion in the future.
A script or some form of scenario might have helped elevate THE LIKES OF LOUISE to watchable status. Rarely have so many character names been flubbed or forgotten (Al at one point has to be reminded that his gal Madigan is named Phyllis), perhaps cute at first but cumulatively annoying. Eight big tits make up the female cast, though the director shows signs of wishing he had paid his dues and become a gynecologist, rather than merely flunking out of film school.
Opening has a redheaded beauty humping Pete (Gillis) by a roaring fireplace, with the memorable theme from "A Summer Place" on the soundtrack. He calls up Al (porn stalwart Paul Scharf) who's making love to Phyllis (Madigan). Pete reports that his wife Louise has left him after she discovered he was playing around.
Typical of the "full speed ahead" sloppy approach here, Madigan calls Al "Louis" at one point, and then corrects herself, stating "I forgot your name was Al", certainly cheaper than shooting a second take. Film certainly gives the impression of having been made on a 1:1 shooting ratio.
Jamie does his standard routine, muttering orders of what his girl should do while they're having sex. This is one of Gillis' least interesting speaking roles.
Cross-cutting reveals that the anonymous director digs cunnilingus, shown in tight closeups ad nauseum here.
Wandering outdoors Louise is introduced being picked up by a goof-ball with a thick European accent in a Cadillac. At his pad she proves uncomfortable with small talk dialog, getting down & dirty quickly as the Beatles' too-often pirated "Ob-La-Di, Ob-La-Da" plays in Muzak version. She calls this new character "Al" by mistake.
A fourth couple consists of a mustachioed guy and a dirty blonde. He tells her of trailing Louise to the Cadillac man's apartment and spying on their lovemaking. Theme from "The Godfather" plays pointlessly.
Mustache man calls Al, asking him to help their mutual buddy Pete with his Louise troubles. He's got an "idee fixe" problem, constantly repeating over and over what "a bad scene" it is involving Louise.
After ejaculating on Louise's face, the European guy has to leave suddenly (as so many porn characters are wont to do), Louise remaining in his apartment. Al & Pete arrive and have a ridiculously stupid improvised conversation, the gist of which is that Al wants to help Pete by joining in a threesome with his wife Louise (thanks a bunch, Al!).
At one point Al calls Pete "Al", his own name! The resulting troilism scene is eccentrically scored to a reggae beat version of "Yankee Doodle Dandy" (I like to think this inspired Serge Gainsbourg to similarly tinker with "La Marseillaise" a few years after), and a more thematically appropriate Muzak version of "The Third Man" theme, with Al the odd man out here.
The theme from "Cabaret" chimes in for Gillis' cum shot with wife Louise, followed by Al giving her a facial. Dumb ending has Al pledging to "help" the couple in similar fashion in the future.
A script or some form of scenario might have helped elevate THE LIKES OF LOUISE to watchable status. Rarely have so many character names been flubbed or forgotten (Al at one point has to be reminded that his gal Madigan is named Phyllis), perhaps cute at first but cumulatively annoying. Eight big tits make up the female cast, though the director shows signs of wishing he had paid his dues and become a gynecologist, rather than merely flunking out of film school.