User Reviews

This underground NYC film does seem intent on stimulating its characters and audience into a frenzied state, even though nobody ever gets around to actually *having* sex. This "story", if you can call it that, deals with various sorts of extremely kinky and twisted fetishes and how one particular person can only ever do his best work over the phone. Certainly the actors give it their all, and writer / director Nelson Lyon makes this a very odd duck of a film. It's often quite surreal, with some priceless dialogue and one monologue near the end that goes on for quite some time. The film is very well shot in black & white by Leon Perera, and is episodic in nature, as our main character meets a couple of quirky people and the basic story is frequently interrupted by "obscene callers" speaking into the camera and telling us what they do (or have done) to get off.

Adorable Sarah Kennedy stars as Alice, a sex-obsessed and air headed hippie chick who receives the obscene phone call of a lifetime. Impressed by the mans' talent, she embarks on a search for the guy throughout NYC. Among the characters we meet on this journey are an avant garde adult filmmaker (Barry Morse), an excitable analyst (Roger C. Carmel) who pays her in coins for details about her sex life, and a lesbian housewife. Finally, she meets the awe- inspiring "Mr. Smith" (Norman Rose), who prefers to keep some sense of mystery about himself and never takes off his pig face mask.

What's amusing is seeing a couple of very familiar faces turn up in this thing: Jill Clayburgh as "Eyemask", Ultra Violet as a woman with a whip, William Hickey as the guy in the bed, Lucy Lee Flippin and Dolph Sweet as two of our obscene phone callers, and "Captain" Arthur Haggerty as the district attorney. Kennedy is a reasonably good anchor in this tale, while Rose invests the nutty Mr. Smith with quite a lot of gravitas.

As you can see from what I've described here, this may not appeal to all devotees of adult entertainment, but the colour animated sequence late in the film sure is a marvel of cartoonish dirty imagery. However, people may still come away from this feeling dissatisfied. Judge for yourself.

Seven out of 10.

A film that I think aims to get the audience into a state of sexual ecstasy. There's no point to the plot nor is there a message. It's all about sexual fantasies. Nobody in the picture actually has sex, they just talk dirty and that's how they get off. Even when the young Goldie Hawn look-a-like main character meets her obscene caller he never takes off his pig mask and all he does is TALK sex. At many points when the sexual tension is at its height the movie cuts away to people talking into the camera about their habit of doing obscene phone calls or putting bananas into their vagina and so on, so I think it wants to play with the audience. The last 10 minutes it is piling it up, though. It gets louder and faster by the minute, and more animated. The movie certainly had an orgasm.

It's a very smudgy comedy, but barely funny. Kinda like a Russ Meyer picture but more experimental. There was an interesting moment at the theater. A guy on screen talks about his previous obsession of making dirty phone calls and it becomes more and more absurd but not particularly funny. Then the guy right next to me starts laughing out loud, and I mean really loud. He can't stop himself and goes "HA!" every few seconds. Gradually more and more people throughout the whole theater start laughing more or less because of what was on screen but they most certainly wouldn't have laughed if this guy hadn't started. When the next scene began it was all quiet again. There was close to no laughter throughout the rest of the picture.

Very entertaining. Girl in Manhattan receives the obscene call of her life, attempts to find him (identified as "John Smith") in the telephone book. Funny scenes as she finds the wrong John Smiths. Surprise ending when she finds the right one. Some nudity and extremely explicit but funny cartoon sequences.

That is the only word to describe this totally off the wall comedy/art/porno. The story runs like this, a young and very cute girl (Sarah Kennedy) is sitting at home one day (probably looking at her pornographic wallpaper!). The phone rings, she picks up. Lo and behold it is, John Smith, the worlds greatest obscene phone caller! She instantly falls in love with his "amazing obscenities" and goes on a sexual adventure searching for him. This movie is NOT like your average porno, to be honest I did not even see anything close to hard sex. What I did see was a visual, auditory and sexual explosion of sheer oddity. If there was an 11 out of 10 this is the only movie I know that would get it!!!

The Telephone Book has developed a cult following over the years due to its pedigree (Nelson Lyon, a future writer of Saturday Night Live) and cast (William Hickey, Jill Clayburgh). However, it is still an early 70's softcore sex comedy, the type of film Something Weird Video specializes in. The plot has a young woman being so turned on by an obscene phone call that she attempts to track down the caller. This leads to encounters with all types of crazies as the woman wanders around Manhattan.

For what it is, The Telephone Book shows more imagination than most of its type. The film even includes an animated section where a giant woman has sexual intercourse with a skyscraper. This section and a housewife's dirty monologue about a banana are the only laugh out loud moments in the film. The rest of the jokes only slightly amuse (at best) . One is advised to view the film with expectations set by the genre and not by its cult reputation.

Funny, near brilliant, underground movie about the sexual perversions of everyday people. Centers around Kennedy (who is a shoe in for a young Goldie Hawn) and her various experiences trying to find John Smith the greatest obscene phone caller she's ever heard. Problem is it's New York City, which leads her to a lot of wrong Smiths. The 'real' John Smith is played by actor Norman Rose who's deep resonate, 'newsman' voice (he's worked as a narrator on many other features) only adds to the hilarity as he explains in great detail how he came to be the 'greatest obscene phone caller of all time'. This is interspread by 'true life' confessions of former obscene phone callers that are so twisted you'll just have to laugh. Also has a wild,'far out' animated sequence that could easily fit into a Marilyn Manson video. Much more provacative than today's hardcore adult films, which tend to be very mechanical. A truly unique film viewing experience that is similar to the much herald PUTNEY SWOPE, but is more consistently funnier and imaginative. A terrific example of 'grass roots' filmmaking were the creativity and ingenuity of the director makes todays $200 million, special effects laden blockbusters look as stale as yesterday's lunch. Most amazing scene features actor Barry Morse (Lt Griggs of the old FUGITIVE TV series) having over ten naked women lay on top of him at the same time!!

Rating: While France was experiencing a massive directorial overhauling of conventions and norms in the sixties, it seems the always intriguing city of New York City was experiencing something of a shift in their approach to American cinema as well. With Nelson Lyon's The Telephone Book captures such a peculiar time in seventies cinema, which is the underground cinema movement in NYC, where rebel filmmakers began realizing that they didn't have to follow in the footsteps of big time filmmakers and could make what they so desired in the comfort of their own neighborhood. One could loan their discoveries and beliefs to the development of what is known today as independent films, or films that lack the participation of large studios with blank-checks and huge distribution deals.

The Telephone Book is one of the most fascinating and truly unique cult films from the seventies you have never seen nor heard of. It concerns a young, eighteen-year-old girl named Alice (Shannon Kennedy), who possesses tendencies of a nymphomaniac. Alice lives in her NYC apartment, which is lined with explicit, black and white sexual photographs and lewd images that assist her in her own personal self-discoveries.

One day, Alice gets a call from a man claiming to be named "John Smith" (Norman Rose), a man with an incredibly deep voice and one who has the rare ability of being able to seduce women just by the sound of his voice. Alice is smitten by his charm and his smooth-talking ways, and after getting his name, makes it her goal to try and track him down and find him in person. Alice has become in love with what she finds the greatest obscene phone call in history.

Alice goes on an exhaustive search for the man, who claims to have one of the most notoriously common names in the country. However, even when she sticks to the telephone book focusing on just the people in New York City she is overwhelmed with results. The film follows her as she exhaustively searches for the man, running into some of New York's strangest and quirkiest souls. One of them is a stag film director who enjoys sex with multiple women at a time, while another subject provides for one of the film's most hilarious scenes. This scene involves your average everyman, who tries to find ways to get Alice to say dirty words and paying her in change so she can make more calls to find her real "John Smith." The man has a change dispenser clipped to the waistband of his pants, which represents his ejaculation and his level of arousal. You may already know where this is going, but the result is devilishly funny and provides for some of the strangest, most off-the-wall comedy the film has to offer.

The film is photographed in high-contrast black and white, providing an even edgier, more authentic experience of the 1970's time period along with the vibes of what feels like unadulterated underground cinema. The Telephone Book comes from the time period where risks in films were actually taken and the idea of subversion wasn't nudged at but boldly and bravely toyed with to the point where what emerged was something almost totally unrecognizable and sometimes frightening.

While sex is a huge topic in the film, and the intricate elements of sex are talked about quite frequently in the film, this film is not one for the erotic genre. Despite its subject matter, the picture is rarely erotic, but instead, more of a sensation, if anything. Even the fact that the film concludes with a surreal, seven minute animation sequence depicting graphic, mind-blowing sexual intercourse between two people on the phone in two separate phone booths solidifies that the film is more interested with being a sensory experience rather than an arousing one. The film was made during the time that "porno chic" was becoming popular, and even indulging in graphic sex scenes would've been a subversive move on the film's behalf. Instead, the film even ignores another groundbreaking element of the time to go off and do its own thing, which is even more unique. It's a film about sex that is rarely sexy.

The Telephone Book feels like the kind of thing John Waters would've made in the early seventies and added it to his collection of trash cinema set in the eccentric land of Baltimore, Maryland. It plays the similar instruments of shock, weird comedy, oddball events, fetish pornography, and individualistic style. Needless to say, I loved every minute of it.

Starring: Sarah Kennedy and Norman Rose. Directed by: Nelson Lyon.

I didn't know of this obscure movie until I went on YouTube and discovered its trailer on it. It depicted a voice of a man who claims if he chooses to, he could seduce the president of the United States and his family! So I just watched the whole thing and it's quite weird what with some confessions of former obscene phone callers put in between the story of a young woman wanting to meet her obscene phone caller. It takes place in New York City during the early '70s in mostly black and white, only turning to color when an animated sequence comes on during a live-action sequence taking place in two phone booths. Oh, and there are early appearances of future stars like Jill Clayburgh. So on that note, The Telephone Book is one weird movie that's quite amusing if not completely hilarious.

Who is John Smith? why....every man's deepest fantasy of course. As he utters at one point and which sums up this incredibly original and black-humored ode to left wing sexuality..."I have perfected the obscene call to the point where I could seduce the President, his wife and his family - but I have no political ambition!"

Poor old Alice, cute little Goldie Hawn wannabe and who is a couple of bra-sizes short of average intelligence, she decides to answer her telephone! Big mistake - it is the world's most experienced serially-obscene phone caller. Does she care? No, she falls in love with him. She must embark now on the ultimate sexual odyssey to discover the joys of true spoken obscenity.

This film is unlike anything else ever made - as original as ERASERHEAD, as meaningless as an Osmond Brothers album. You have to see it...if for no other reason to witness Barry Morse's cameo to end all cameos. They surely COULDN'T have paid him to do it...he MUST have paid them!

I have had this film for twenty years and STILL haven't let my kids see it! I think mine is the only copy in Australia, if not the southern hemisphere. A deep deep underground film that could NEVER have found theatrical release I imagine.

The story of a day in the life of a lonely, sensitive, exuberant, attractive, young woman. Her exploits, encounters, and frustrations as she attempts to find a "special" someone, a caller who has "class", as she puts it.

From the pornographic wallpaper to the downright raunchy situations, this is a dirty film. Yet, somehow a tastefully dirty film... not at all sexual, despite the nudity and sexual situations. Bizarre! How has Something Weird or someone else not gotten a hold of this title?

Frankly, I love the way this guy talks! And I love that this has a "young" William Hickey in it. I primarily know him later on from "Tales From the Crypt" and "Puppet Master", so it was great to see him more in his prime.

If you're looking for something weird, experimental, bizarre, this is the movie for you.

Yup, it's one of those. For better or worse. (Usually worse.)

But because it isn't a Czech, Spanish or French experiment at least you know there's a decent chance it isn't totally unwatchable, right? In fact, it was written/directed by a later SNL writer.

I can't stand SNL, just to mention that, sort of btw and all... Especially now they utterly stink, with all those useless millennial actors and writers. Though they used to be bad in the 70s too, despite the (mostly) good cast. That show never had much good material. They started off as a lame semi-imitation of Python, then degenerated into something even worse.

So a double-edged sword: on the one hand, the SNL connection means that this isn't some totally underground, utterly useless piece of trash made by a total hack hipster. On the other hand, if a "future" SNL writer made it then it can't be great either. And that's maybe why my rating turned out to be somewhere in the middle.

Somewhat uneven. There are interesting moments, even a laugh here and there (admittedly, they are rare), but for example the animated bits at the end are just awful, and things get annoying at times.

You'll be surprised at finding as many as 5-6 familiar faces, some of whom had been established before this movie. Unusual, given the XXX subject matter, the nudity, and the off-the-wall underground style. Jill Clayburgh is one of them, though this was well before she became an A-lister. She doesn't show any nudity, just to avoid getting yer hopes up, in case you like her... But there's plenty of nudity, most of it concentrated in the first third, which is excessively "arty" i.e. There's even less plot in this section.

Other than the bouncing breasts, there are several right-into-the camera monologues to be found in this semi-disconnected "story" with has a very basic "plot". The film combines a semi-documentary style with regular movie situations. They vary from semi-dumb to somewhat interesting, occasionally bizarre. Certainly an unusual way in which all of it is presented. Personally, I preferred any scene with Kennedy in it. But that's just me. She is amazing, and very fortunately she's the lead.

Basically, what it boils down is to is this: do you find Sarah Kennedy uber-cute and totally irresistible, as I do, or not. With some average or nothing-special actress in her place, I might have been too bored to finish this. But having her extraordinarily beautiful face all over the screen made it all so much easier. Her lovable, ditsy voice, that helped too. Her face is - vaguely speaking - a cross between the very young Goldie Hawn and even more so the Serbian actress Milena Dravic (a unique beauty).

Every now and then I discover (or am reminded of) a stunning actress (in one way or another stunning - or preferably all of the ways) that never made it big, and I get annoyed, because so many homely and/or despicable actresses have/had great careers, yet there are all of these undiscovered or barely known female gems that rot away in a few obscure films and/or TV appearances, and nothing else. I know that casting agents, producers and studio heads are nearly all a bunch of tasteless fools, absolute clowns, but it still doesn't excuse overlooking women such as Sarah.

Did she get lost in drugs or alcohol? Did she lose interest in acting? Find another career? Did she refuse the casting couch? Did she struggle memorizing her lines? What could possibly be the reason nobody tried to push this girl? Was she considered to be too "limited" in the sense of only playing "smiling ditsy trollops"? And how the hell is Jennifer Aniston any better than she is? Aniston is the personification of a charisma-free, one-dimensional "actress" with zero range. But, und das ist ein big but, she is a nepotist, and nepotism - above all else - opens doors in show-biz... Something Kennedy didn't have the benefit of.

No, of course she's not part of the Kennedy clan, otherwise she'd have starred in a ton of big-budget films.