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Roger Smith

It's "look, ma, I'm a paintbrush!" as the sexy first-name film star romps among the avant garde in a colorful kookie scene for her latest movie.

A "Swinger" says Webster's, in typically laconic fashion, is "one that swings". Cast in the title role of Paramount's forthcoming cinecomedy "The Swinger", provocative Ann-Margret plays the part of a would-be writer whose sextraordinary autobiographical prose prompts a prospective publisher to ask repeatedly: Does she or doesn't she?

Rather than admit that her lusty life's story is nothing more than a plagiarized put-on when leading man Tony Franciosa and his publisher boss Robert Coote start spying on her in an effort to establish her editorial integrity, she opts to stage a series of sexy shenanigans befitting the wildest of birds.

The high point of "The Swinger's" subsequent high jinks has been preserved in this portfolio, wherin our bogus literary bawd and a coterie of bohemian tenants, who help her pay the rent on her hillside home in Laurel canyon, join forces in fabricating an orgiastic voodoo rite for the benefit of her two skeptical shadows, who have stationed themselves outside a basement window.

As the proceedings approach pandemonium, Ann-Margret doffs her duds in favour of a coat of paint and turns into a human paintbrush, writhing her way across a blank canvas in a Technicolor toast to the do-it-yourself tradition.

Best known for her ingénue portrayals in "State Fair" and "Bye Bye Birdie" and, more recently, her starring roles as hard-boiled heroines in "The Cincinnati Kid" and "Stagecoach", Ann-Margret takes to her celluloid unveiling in "The Swinger" with the artistic ease of a true cinema sex kitten. The aesthetic values of painting with pulchritude alone are, of course, open to debate. Our own reaction reflects that hoary cliché: We may not know art - but we know what we like. And we like Ann-Margret!

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