Down in Cajun country, two brothers, Jacques and Pierre Guillot, are in love with the same woman and tensions boil over when the girl, Lily, decides to marry Pierre but on the day of the wedding, Jacques finds a badly beaten woman in the bayou and brings her home. The girl, Minette, immediately makes a play for Pierre but it's Jacques who falls hard and the brothers come to blows. The newlyweds do a little digging and discover the girl recently seduced a wealthy landowner which drove his wife to suicide but her past catches up to the unscrupulous tart as she's chased through the swamps with a gun and run out of town once more. The brothers make up as Minette puts the make on a passing motorist.
This type of trashy titillation rarely pretends to be anything other than what it is: low-budget grind-house and Drive-In exploitation fare. The familiar plot line echoes the Beverly Michaels cult film WICKED WOMAN (1953) and predates Russ Meyer by a few years in its depiction of a brazen backwoods tramp. Nan Peterson makes a voluptuous Minette and plays the nymphomaniac with relish from the opening sequence of her fleeing on horseback with bullets whizzing past her head to the closing shot where she's lustily digging her nails into the back of the Good Samaritan who's stopped to help her. The story only spans a few days but this voracious vixen seduces nearly every man she meets within minutes. Nan plays her bedroom scenes in a white bra (two years before Janet Leigh in PSYCHO) as the shadows on the wall make coitus very clear.
Stories like this have been known to have loftier intentions and deeper meaning lurking beneath the sex and sin. The premise of a man stumbling upon an unconscious girl and bringing her home to his family -only to have her rip their world apart- is a universal one and can be seen in such diverse films as Luis Bunuel's Mexican SUSANA (1950), Finland's THE WITCH (1952), and Italy's Gothic LURE OF THE SILA (1949) with Silvana Mangano. THE LOUISIANA HUSSY is enjoyable nonsense with only one thing on its mind and doesn't outstay its welcome. Betty Lynn ("Lily") would go on to play good girl "Thelma Lou" on Andy Griffith's "Mayberry R.F.D." and the country doctor who uncovers Minette's secret is named "Opie". Go figure.
This type of trashy titillation rarely pretends to be anything other than what it is: low-budget grind-house and Drive-In exploitation fare. The familiar plot line echoes the Beverly Michaels cult film WICKED WOMAN (1953) and predates Russ Meyer by a few years in its depiction of a brazen backwoods tramp. Nan Peterson makes a voluptuous Minette and plays the nymphomaniac with relish from the opening sequence of her fleeing on horseback with bullets whizzing past her head to the closing shot where she's lustily digging her nails into the back of the Good Samaritan who's stopped to help her. The story only spans a few days but this voracious vixen seduces nearly every man she meets within minutes. Nan plays her bedroom scenes in a white bra (two years before Janet Leigh in PSYCHO) as the shadows on the wall make coitus very clear.
Stories like this have been known to have loftier intentions and deeper meaning lurking beneath the sex and sin. The premise of a man stumbling upon an unconscious girl and bringing her home to his family -only to have her rip their world apart- is a universal one and can be seen in such diverse films as Luis Bunuel's Mexican SUSANA (1950), Finland's THE WITCH (1952), and Italy's Gothic LURE OF THE SILA (1949) with Silvana Mangano. THE LOUISIANA HUSSY is enjoyable nonsense with only one thing on its mind and doesn't outstay its welcome. Betty Lynn ("Lily") would go on to play good girl "Thelma Lou" on Andy Griffith's "Mayberry R.F.D." and the country doctor who uncovers Minette's secret is named "Opie". Go figure.