Harry Hurwitz, who also worked with Charles Band on porn documentary 'Auditions', creates a fun-filled version of favourite fairy tales. Though for adults the humour and sex is actually all quite innocent and kind of charming which makes this a watchable and entertaining movie. The songs are cleverly written and produced to a very high standard and also sung very well. Songstress Martha Reeves has a small role and performs one song (later in life Reeves claimed she was duped and did not know it was an adult film - to be fair her scene looks innocent and has her surrounded by cast, including the prince, in traditional dress). All of the acting is very good with Sy Richardson as a pimp (Richardson also worked on Band's soft porn version of 'Cinderella' before becoming famous). Angela Aames as Bo Peep is exceptionally pretty and proves what a shame her untimely death was. Co-writer Frank Ray Perilli worked alongside Albert Band for many years and later with Charles as he was starting out. Plot wise there is not much to add about the film, story is slight at best. This is a really credible film and even now among what would eventually become Full Moon Pictures best.

I was on-line earlier and started thinking of those fairy tales books from school. They were the 1st books you READ after clearing flash-cards. Anyway, having lots if 'search' words I went on Google. 3rd entry was this film Fairy Tales. Briefly, I saw what it was about, sniggered then decided to write this review. PS If you have seen this film & recommend it, let me know.Thanks.

Charles Band strikes gloriously ridiculous schlock movie fool's gold with this giddy, bawdy, cheerfully lewd, crude and rude vaudeville revue-style soft-core sex musical comedy send-up of beloved Mother Goose nursery rhyme characters who are tossed smack dab into the middle of a gratuitous nudity-packed, sex-ridden, scuzzy pun-laden low-budget nice'n'naughty goofathon loaded with wink-wink, nudge-nudge hammy acting, pretty girls frequently shedding their scanty apparel, cheesy Cole Porter-type song-and-dance numbers, leering double entendres, grotesquely drawn black, homosexual and sexually deviant characters, semi-explicit simulated sex, dirty jokes about erections and voyeurism, and an ingratiatingly good-natured sense of aim-for-the-groin lowbrow high school locker room humor.

A jaded prince (pudgey, homely, acne-scarred dork Don Sparks), rendered impotent by having made love to too many castle babes, has to immediately find that certain special fair maiden who will arouse him in order to produce an heir and rightfully assume his natural role as king. So Prince Plug-Ugly Clod goes roving the countryside in search of his elusive alluring queen and has bizarre encounters with a motley assortment of mugging, freaked-out, libidinous oddballs. The Little Old Woman Who Lives in a Shoe (vampy Brenda Fogarty) is the madam of a bordello. "Repo Man" 's Sy Richardson, carrying on like he's in a way soulful blaxploitation picture, does his flippy jive-a** thing as Sirus, a preening, flamboyant pimp with an over-sized bright red codpiece. "Professor" Irwin Corey contributes a typically over-the-top turn as a manic, wheezing, profanity-spewing sex expert doctor. Snow White (luscious dish Annie Gaybis) participates in lively group sex with the lascivious seven dwarfs. Little Bo Peep (gorgeous buxom blonde honey Angela Aames) not only loses her sheep, but also her clothes as she squeaks out a dreadful tune in a grating, high-pitched adenoidal voice before falling out of her flimsy dress and revealing her bountiful breasts. Cuddly unclad imp Lindsay Freeman pops up as the insatiable Jill, who can't get mincing gay Jack to make love to her.

Robert Staats as gabby smarmy doorman Little Tommy Tucker, Angelo Rossitto as a lecherous midget lawman, and Bob Leslie as randy Old King Cole devour the cheap forest scenery with lip-smacking uninhibited aplomb. Juicy Ida Tripoldi fails to turn on the prince as a delicious naked chick birthday present. Delectably voluptuous belly dancer Nai Bonet shakes her fleshy, undulating body and pours glistening oil on her shapely buttocks while shaking it to a grinding disco beat. Marita Ditmar and future "Dallas" cast member Evelyn Guerrero, wearing just leather S&M masks, engage in an absurdly campy dungeon-set chains'n'whips "beat me because it feels so good" number. A fresh out of high school Linnea Quigley, looking incredibly cute and prior to her substantial 80's scream queen fame, gets the prince's motor running as the yummy, untainted Sleeping Beauty.

Director Harry Tampa, working from a gleefully coarse, filthy-minded, resolutely vulgar and unsophisticated script by Frank Ray Perilli and Franne Schacht (they also wrote "Laserblast" for Band), keeps the tone unremittingly smutty, yet light-hearted throughout, while cinematographer Daniel Pearl blinds the audience with lots of chintzy vertical wipes and dissolves and composer Andrew Belling and lyricist Lee Arries deliver the dopey goods with such choice sleazy songs as "Been A Virgin Too Long" and a kinky bondage-and-discipline-themed variant on the classic rhythm-and-blues ditty "Beat Me Daddy Eight to the Bar." Trandscendently tacky stuff.