Inserts is a 1975 British comedy-drama film written and directed by John Byrum in his directorial debut, and starring Richard Dreyfuss, Jessica Harper, Bob Hoskins and Veronica Cartwright.

Harlene was a well-known star during the silent film era, and she too is reluctant to join the ranks of the "talkies" due in part to her high-pitched voice.

Rex believes a man from a studio who offered to put him in the mainstream talkies and has an appointment to meet him in his hotel room later that day.

Boy Wonder attempts to make an artistic film using an actress under the influence of heroin and an actor who becomes increasingly frustrated with him and all of his poetic talk, much of which he does not understand.

He has heroin packets in his pocket, an unlit cigar in his mouth, wads of money for Rex, and wannabe actress Cathy Cake hanging on his arm.

In a jealous rage, Big Mac ends his six-picture stag film contract with Boy Wonder, who by this time is entirely drunk.

The money came from United Artists, Devina Belling, Clive Parsons and star Richard Dreyfuss, who had just made Jaws.

[4] Byrum said the film "would probably have been better accepted ten years ago but whether people love or hate the movie they should know that everyone involved made a commitment and believed in it.

"[4] The film involved waist-up nude scenes from Jessica Harper, and full frontal nudity from Veronica Cartwright[6] and Stephen Davies.

"[8] Gene Siskel of the Chicago Tribune awarded an identical 2.5-star grade and observed, "You can tell the film was directed by a writer.

"[9] Vincent Canby of The New York Times thought that the film was "essentially a stunt, a slapstick melodrama in the form of a one-act, one-set, five-character play.

It is, however, a very clever, smart-mouthed stunt that, in its self-described 'degenerate' way, recalls more accurately aspects of old Hollywood than any number of other period films, including 'Gable and Lombard.

"[3] Pauline Kael of The New Yorker stated, "Byrum is only twenty-eight, and this film was made (in England) on a small budget (around a half million).

"[10] Tom Milne of The Monthly Film Bulletin wrote that early on "Inserts looks as though it might be going somewhere as a reflection on Hollywood's fall from dream factory to second-hand porn pusher," but then "the script wanders well out of its depth into some turgid ruminations about artistic integrity versus commercial opportunism, simultaneously taking the opportunity to indulge a little titillation until the whole thing begins to founder with embarrassed self-mockery into routine sexploitation.

[14] Mel Gussow of The New York Times said "the play takes itself far too seriously while festooning the stage with turgid dialogue and tawdry situations.