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Stan Link (young version: Brian Stox, old version: Lou Pampino) was the
rock sensation of the late 1950's/early 60's ... but then he obviously
discovered food, and had eaten himself to death, leaving behind a
wife-gone-mad, Brenda (Judi M.Durand), a box of unreleased songs, and a
pack of nasal hair - for some reason the only clue leading to the
unreleased songs ... and thus the girl gang The Party Girls (Debra Lamb,
Monica Lee, Merritt Morgan) are one day hired to steal the nasal hair, but
when they break into the Museum of Rock, all they get are some
fakes ... There's one other thing that Stan Link left, actually, his son
Rock (Paul Secru), whom he had never seen because Brenda lost him at a
parking lot only two days after his birth. Rock did the best he could to
become a musician to rival his father's success - but he didn't come even
close, so nowadays he works as a private eye and his girlfriend Marley
(Bunty Bailey) leaves him because he's an utter failure. But when he's
handed the case of Stan Link's nasal hair, it doesn't take him long to
trace the real nasal hair down to Brenda (who he doesn't yet know is his
mother) ... but from here on it goes only downhill, because not only is
Brenda pretty protective of the nasal hair, also one of the Party Girls,
Mais (Debra Lamb), will use everything in her power from hypnosis to tits
to ensure he does her bidding - which almost ruins every chance for Rock
to reunite with Marley forever. In the end though, and for no
discernible reason, everything comes out just fine, Rock's manager (Adam
Small) ends up with Stan Link's lost songs and as a thank you gives Rock
the break of his lifetime, and Rock doesn't come only back together again
with Marley, he also finally gets to know his mother Brenda ... This
could have been great! The premise sounds extra promising ... just think
about it, an Elvis-like bigger-than-life (in every sense of the word)
rockstar, three gorgeous babes/criminals, nudity and ... well, nasal hair.
And yet the film is a complete bore, especially lacking in the plot
department, where narrative buildup is sacrificed for an
extended-to-breaking-point set-up and nothing much to build on it, all
"garnered" by several videoclip-like musical numbers that bring
the action to a screeching halt every now and again, and an ill-adviced
emphasis on the romantic aspects of the plot. Well, at least the three
gorgeous girls are really gorgeous, but that's hardly enough to save a
film, now is it?
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