Marcy Wiggins' (Uta Erickson, THE ULTIMATE DEGENERATE) playful relationship with live-in companion June Rutland (Sheila Britt, THE LUSTING HOURS) sparks rumors of lesbianism at the neighboring farm of her childhood sweetheart Dalton Christie (Nick Dundas, THE SEX CYCLE). Dalton's wife Sharon (Barbara Lance, THE ODD TRIANGLE) is particularly pleased since she has been jealous of Marcy and Dalton's past relationship, but her using the rumor to needle Dalton has the opposite effect and he seeks out Marcy to dispel the rumors (they are both wont to wander the hills between their neighboring farms for love of the land) and end up rekindling their relationship. June has not even considered a lesbian relationship with Marcy - in fact, she's been having fun with handyman Will Diehl (Alex Mann, SATAN WAS A LADY) - until Sharon and Dalton's housekeeper Carrie Sue (Linda Boyce, SHE CAME ON THE BUS) asks her what lesbians do (and June demonstrates it). Just because Sharon takes comfort in thinking that Marcy is a lesbian - and therefore, not interested in her husband - does not mean that she isn't going to jump farmhand Norbert's (Aaron Green) bones while wife Carrie Sue is running errands. Marcy and Dalton consummate their elicit relationship, but June's and Carrie Sue's plan to seduce Marcy means she must chose between exploring her sexuality - and incurring further vicious rumors - or pursuing a secret relationship with a married man (the two of them having determined that they cannot run away from their other responsibilities). Shot in 1968 and released in 1970 by J.E.R. Pictures (the people who brought you THE CURIOUS DR. HUMP, a tame South American sexploitation pic augmented by more explicit American-shot inserts), MARCY is not one of Sarno's better pictures, but any previously lost Sarno suddenly rediscovered has its interest. Here, the sex scenes are oddly brief and the sexual tension between the characters is not as strong as in his earlier works. The pacing is ponderous and Erickson's character is less interesting than the other women (her performance is also stiffer than other actresses). On the other hand, the cast is shot-through with Sarno alumni (all of the cast members have at least two other Sarno films in their CV), but Erickson, Boyce, Britt, Dundas, and Mann have all made appearances in the works of other notable sixties East coast sexploitation filmmakers such as Doris Wishman, Michael and Roberta Findlay (together and singly), Barry Mahon, Jerry Gross, and the Amero brothers.