remains a historical curiosity: a high-quality, film-shot production that masqueraded as a sequel to one of adult cinema's most infamous franchises while secretly aspiring to be a romantic art film. of other entries in the series, or are you interested in more technical details regarding the cinematography of 1980s adult film? Taboo VII: The Wild and the Innocent - Letterboxd
The film is noted for its higher-than-average production values compared to contemporary adult titles, earning it a reputation for "extra quality" in terms of cinematography and staging. taboo vii the wild and the innocent 1989 ful extra quality
If you want, I can:
| Item | Information | |------|-------------| | | John “Jack” C. McAllister (pseudonym used for many titles in the Taboo line). | | Producer | Steven L. Wiles (executive producer for the Taboo franchise). | | Screenplay | Written by James D. Porter , credited as “J.D. Porter”. | | Cinematography | Larry J. Stevens – noted for using soft‑focus lighting to give a “dream‑like” aesthetic. | | Editor | Karen D. Shaw – edited the original cut and later oversaw the remaster for the Extra Quality release. | | Music | Score composed by Mark S. Vargo , featuring synth‑driven ambient tracks typical of late‑80s erotic cinema. | | Production Company | Eros International Studios (a subsidiary of the larger Taboo brand). | | Distribution | Initially distributed on VHS by Vivid Entertainment , later re‑released on DVD by Hustler Video and a limited edition Blu‑ray by Aphrodite Media . | | Filming Locations | Primarily shot in suburban Los Angeles, California; interior scenes were filmed on a set that doubled as a family home. | | Budget | Estimated at $150,000–$200,000 (modest by mainstream standards, but sizable for the adult‑film market of the era). | If you want, I can: | Item |
In the end, represents something beautiful: the collector’s dream of a perfect, uncut, high-resolution memory of a film that might never have been. Whether real or phantom, it reminds us that the rarest media often hides not in archives, but in the blurry boundary between what was released and what we wish we had seen. Wiles (executive producer for the Taboo franchise)
: It is reportedly the final entry in the series shot on actual film stock, giving it a distinct visual quality compared to the video-based sequels that followed. Critical Reception