FUL rejected all three paths. Instead, they pursued a raw, minimalist, almost anthropological sound—stripping music to tribal drums, distorted bass, and whispered/ screamed vocals.
The production features an ensemble of prominent performers from the late 1980s adult industry: Role Summary Ben Brookfield
A sleek black sedan rolled slowly past the alley, its tinted windows rolling down. The silence that followed was heavier than the noise. The Wild stepped closer, invading her personal space, smelling of smoke and rain.
Taboo VII: The Wild and the Innocent delves into several themes that were considered progressive for its time. These include: Taboo VII- The Wild and the Innocent -1989- Ful...
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The romantic lead, a poet who literally breaks out into musical numbers. Emily (Lisa) The alluring sculptress and Ben's true love interest. Herschel Savage The loud, antagonistic Beat poet providing comedic tension. Suzannah French
The contemporary and retrospective reception of Taboo VII: The Wild and the Innocent has been largely negative, though not without a sense of curious wonder. The primary criticism is its deviation from the series' core identity. FUL rejected all three paths
Taboo VII: The Wild and the Innocent , as the full title suggests, is a sharp departure. It is not a sequel in any narrative sense, but rather a stand-alone film that borrows the franchise's name to draw in viewers. The film abandons the theme of incest entirely, and critics were quick to point out that its titular "taboo" was unclear, as the new story lacked the series' signature transgressive element.
Taboo VII stands as a fascinating artifact of this transitional era. It reflects both the high-concept dramatic aspirations of 1980s adult cinema and the rapidly evolving production styles of the late video era. The Plot: A Study in Contrasts
Taboo VII: The Wild and the Innocent is a competent but uninspired late-1980s adult feature that trades on a famous name while abandoning the original taboo (incest) for a safer, more generic “good girl discovers bad boy” narrative. Directed by a woman, it offers mild hints of female sexual agency but remains firmly within the male-oriented pleasure conventions of its time. For scholars of adult film history, it serves as a marker of the Taboo franchise’s decline. For casual viewers, it is a time capsule of late-80s porn aesthetics: big hair, synthesized music, and wooden dialogue punctuated by enthusiastic sex scenes. The silence that followed was heavier than the noise
The storyline revolves around contrasting archetypes of female desire and social expectations, capturing the final gasps of 1980s subcultural style. The narrative introduces two central figures:
Taboo VII: The Wild and the Innocent (1989), directed by Kirdy Stevens, represents a stylistic shift for the adult film series toward a "pornographic soap opera" focusing on romanticism, rather than the incest-driven drama of earlier entries. Starring Randy West as poet Ben Brookfield, the narrative focuses on an artists' retreat where residents explore "awakening talents" and the "wild and innocent" sides of human sensuality. For more details, visit IMDb .
Taboo VII: The Wild and the Innocent (1989) is best understood as a fascinating outlier. It is an example of a series creator or producer attempting to elevate or change a formula that fans had come to love. While its musical numbers, narrative complexity (however awkward), and directorial flair might be admirable in a vacuum, they were misapplied to a franchise built on the dark psychology of the incest taboo.