Love, sex and interminable pop-culture references

Category: Soft Porn (Page 1 of 2)

ILB’s posts about softcore, his favourite porn subgenre

Soft Porn Sunday: Heidi Schanz & Tom Berenger

If you recognise those names, you’re not alone. This film, despite the “early-’90s soft porn”-style title and limp thriller set-up, is a genuine mainstream thriller with actual actors, albeit rated R (the BBFC might render this as either a 15 or 18 – but that’s up to them) and containing a fair amount of nudity and even some sex.

Tom “was in Inception “was in Inception “was in Inception“”” Berenger is the star here, as attorney Gavin, working hard on defending a Mafia don, when Pandora Circe (Heidi “out of The Truman Show” Schanz) rocks up looking for his help. She’s hot, and has a story to tell about a brutal husband, so of course Gavin is interested.

Anyway, that’s the set-up and it’s all you’re getting.

Appearance: Body Language (1995)
Characters: Pandora “Dora” Circe & Gavin St. Claire

Hmmm, Gavin has a porn star surname.

Kiss the miss.
Are you as worried as I am about the fact that Gavin doesn’t appear to have eyes?

The scene I’m going to be looking at is, for a mainstream flick, genuinely quite explicit for a mainstream film, and of course it happens between Dora and Gavin, so I suppose there’s some amount of “star power” here. Like many mainstream films, there isn’t much build-up to the sex in a sex scene either; whereas genuine softcore might spend time focusing on disrobing and/or foreplay, Body Language makes do with a brief kiss followed by a jump cut to the sex, so at the very least, we don’t have to wait.

There are a few dimly-lit close-ups to begin with, but at 00:13 we get a full-body shot, which unfortunately means that you have to see Berenger’s bum, but leaves no doubt in anyone’s mind of what’s actually going on here. There’s even quite a lot of steam between the two of them – Dora and Gavin are working off a fair amount of passion that’s been building up, so…

I don't know about you, but I think he's a bit of a bum man.
He’s got a better bed, but I’ve got a better arse.

In fact, it’s the closeness that makes this scene. The other shots prove to highlight this – deep, lusty kisses in tight head-and-shoulders shots; rolling over without breaking the connection; grabbing the back of the head; plenty of moans and gasps (from her; he makes a noise like Christopher Walken at the beginning, which…). We switch to Dora riding Gavin at 00:37, by which point it’s more than believable that they are both genuinely into this.

So, the riding. As I’ve said before, this scene is genuinely quite explicit, but for a fair amount of time the camera doesn’t focus on anything except Dora’s head and shoulders (and her pretty hair). As it isn’t porn, that’s clearly a stylistic choice, and not having boobs on show doesn’t really take anything away from the scene – they’re just absent enough to be noticeable.

Yaaaaaaaaaawn...
Yes, I too like to play at “going to the dentist” during sex.

In fact, although we do see her back and bum a few times, the one time her boobs could be on display, they are covered by Gavin’s hands. Nevertheless, they are both naked throughout this scene, and there’s enough bump’n’grind to keep everything ticking along nicely. Even the moans increase in volume, which… helps, I guess?

Having said all that, this isn’t real softcore and the sex isn’t the focus, however much of it we may see. There is, however, a nice postscript to this scene, with a fully naked Dora getting a drink from the ‘fridge afterwards. I’m aware she’s just had sex, so she should be, but it’s nice to normalise both nudity around the house and getting a cold drink after sex.

Oh, and fishkeeping.

Paracheirodon innesi +++
It’s not meant o be the focus, but that’s such a nice fish tank…

The only thing I really don’t like about this scene, really, is the music. But, again, softcore pays a lot more attention to music than other genres do. This scene uses semi-orchestral piano and woodwind stuff, which I suppose does suit the mood. It’s not particularly inspiring, but it doesn’t stick in my head. Mind you, this is one minute of passionate lovemaking, so that’s a minor quibble.

Overall, then, this is A Good Scene (and thanks to the reader who sent it in). It’s quick, it’s hot, it’s filmed well, and yes, it isn’t from actual softcore at all…

…AND YES, I’M VERY ANNOYED ABOUT THAT!

Soft Porn Sunday: Yvette McClendon & Glenn Ratcliffe

This is the long-overdue final instalment in the unofficial series of Soft Porn Sundays featuring Glenn Ratcliffe. Yes, I’m aware you probably weren’t aware of the fact that I was doing that. Friendly reader S.A. requested I do these, and you can find the first two here and here, and there’s a third, here.

But you’re not going to read those. I can tell.

Centerfold – please excuse me washing my hands with bleach after typing that Americanism – is an unusual half-hour of softcore because, although it varies between episode, half-hour series often feature an average of two or three sex scenes – more often than not, one before and one after the mid-point advert break. Some feature more (Passion Cove‘s Practice What You Preach leaps to mind, with no less than five in under thirty minutes!), but most commonly, you get two or three. It happens.

Centerfold, however, features four sex scenes. That’s two in under fifteen minutes. They’re brief, but they are there. They may all feature Ratcliffe as forgettable idiot horny photographer Joe, but at least they are there. So here is one.

Appearance: Compromising Situations, Series 3: “Centerfold” (1996)
Characters: Jennifer & Joe

Alliteration, eh? I like that. Gives me all sort of fluffy feels and energetic English graduate glee. You don’t get that sort of clever continuous collusion with murderous Maths.

Anyway.

This sex scene takes place on a bed with a pretty colour scheme. In fact, the colour scheme is fairly continuous throughout the scene: dark blue duvet, dark blue pillows, and it even takes place at dusk, so the light through the strategically-placed windows is dark blue. I know that I’m not supposed to notice that, but c’mon, I’m ILB – of course I’m going to do so.

Blue his house, with a blue little window...
“Blue room, you saw me standing alone…”

One thing I will point out (the second thing I noticed, after the blue, da ba dee, da ba dai) is Jennifer (McClendon). She’s actually very attractive. Nice defined face, lovely smile, and beautiful blonde hair in a unique hairstyle that I can’t quite place. She’s even got pretty silver nail varnish on that contrasts well with Joe (Ratcliffe)’s hair, and considering the fact that she doesn’t get to do anything except be awkwardly boob-kissed by Joe for the first 28 seconds, she does at least give off good vibes.

From the boob-kissing we cut to some thigh-kissing (yawn), with added ‘kiss’ sound effects (yes, really), before a mix to bog-standard softcore oral sex. Joe’s head is far too far north for this to be believable, but the look on Jennifer’s face does at least suggest she is enjoying herself – one supposes she is the one carrying the scene.

Smile, dammit! Smile, I command you!
Very nice girl. Lovely teeth.

It doesn’t, however, negate the fact that by this point, the scene is halfway through, and for a sex scene there doesn’t appear to have been much sex. Let’s move on.

I had to watch 1:03 to 1:09 to make sure I wasn’t imagining this. There’s a switch here from Joe being on top of Jennifer to Jennifer being on top of Joe – but, rather than a mix or a fade or a cut, it happens on-screen in double speed! There’s no change in the music or indication that this is going to happen, or indeed, if it’s intentional at all – but for five or so seconds, they have suddenly channelled Billy Whizz, before instantly returning to normal pace as if nothing has happened!

…What?!

Anyway, once we are back a tempo, we do get something approximating what I assume is an attempt at simulating penetrative sex. At the very least, Jennifer is astride Joe and neither of them is wearing anything (unless the duvet conceals it – a cunning design), so I think this is the OMGZ SEKS bit. Jennifer does have a nice back (and, although I don’t mention this very often, a well-proportioned arse), and once we mix to a front-on view, it turns out she has nice breasts too (if only Joe’s damn hand would get out of the way).

Back shot. I’m a sucker for a good back. There’s a kink I didn’t realise I had.

There just isn’t a lot of movement. She’s just… sitting there while he flails his hand around a bit. At 01:33 she even grabs it in what appears to be an attempt to stop him doing so – making me wonder if this was scripted, or if it was just the actress getting fed up with it!

There’s a touch of movement at 01:44, accompanied by a shift in the music, presumably to indicate a shift in tone; the previous piece (a kind of ambient dreamy synthy thing) suddenly overlaid with bass guitar, kick drum and tambourine. It doesn’t really add anything, but at least it makes things a little more interesting.

It may as well, because the sex isn’t getting any more interesting.

And then a telephone rings. Telephone, the real star of the show.

It took me ages to screenshot this.
Should’ve received full credit.

Overall, I’m not sure what this scene is meant to be. It’s not overly sexy, and wouldn’t be at all were it not for Yvonne McClendon. It’s slow, but not romantic slow or intense slow, just slow slow. The cinematography’s okay, and the music is sound, and – as I said – understated but colour-consistent décor is always nice – but it’s delivered with a kind of disinterested detachment that makes me wonder what they were doing here.

“Hey, we need to move this plot along! Throw in another sex scene and they’ll never notice!”

But hey. Four sex scenes in one episode. Horny teenagers watching this on L!VE probably aren’t going to complain.

Lying

In our lounge, against the big radiator underneath the big window, there is a big sofa. Technically, of course, it is a bed – but one that folds up into a sofa if one desires so. Since its installation, it has been in sofa mode; distressingly, a couple of slats recently got loose and it has developed an alarming slump in its centre as a result.

I’m nervy about sitting atop it, now, but it’s still nice to lie on.

Which is what I was doing this afternoon. I took a long walk shortly after lunch – ostensibly to deliver Christmas cards, but more realistically in order to have something to do – after which I came home to a girlfriend who was on the verge of going for a lie down herself.

Loath to interrupt her, I cleared some space on the sofa, and stretched out on it. I didn’t even bother to turn the TV off – I just crashed out.

First time in a while I’ve been able to do that. Glorious.

After a stressy experience a few days back, I’ve gone off the concept of porn. I mean, I love porn – some of it, at least; I’ve got quite discerning tastes – but, for the past couple of days, the mere idea of watching porn is more exhausting than exhilarating.

I lost my job yesterday, so maybe that’s got something to do with it…

Hazy ILB, however, appears to have completely different feelings towards porn. In my lazy, semi-conscious state, watching porn was something I was so fixated upon that it consumed my very being. Here I was, completely immobile on the sofa, starting to feel more rested than I have in a very long time… and becoming more and more aware that mainlining Emmanuelle riding Haffron was, in fact, MY PURPOSE IN LIFE.

The problem was, of course, that my computer was on the opposite side of the room – a whole five steps away – and, while Hazy ILB was drowning in a world of glossy smut, physical ILB wasn’t willing to make the effort. (Conscious ILB had long since safeworded out of the conversation.) And so I lay there… partially pondering my existence, partially remembering through sensation how comfortable our sofa actually is, but mostly just becoming aware that, although I didn’t have to be watching porn, if I wanted to, I probably could.

Until, at one point, Hazy ILB suggested the concept of actually doing so.

That would be easy – of course it would. Just haul myself off the sofa, slope over to the PC and fire up VLC. Work up the energy to do so and I could even turn off the TV. Easy as π² – right?

Thump. Thump. Thump.

“What’s that?” said my girlfriend, suddenly materialising in the doorway as the people downstairs started to turn up the bass – probably the entire song, it was all bass – to somewhere between “ouch, my ears” and “please let me die”.
“I don’t know,” I slurred, “maybe it’s the people downstairs?”
“But I was having such a nice nap…” she protested.
“When it comes down to it, so was I.”

Fuck!

Soft Porn Sunday: Jewel Staite & Callum Blue

Although there’s a lot of go-to scenes I have, throughout various permutations of glossy smut – on my hard drive, my busted external HD or my Disks of Wonder™ – there is also quite a lot to be said for the quick snatches of sex, implied or otherwise, that you’ll find in more mainstream media.

Sex and the City isn’t a good example.

Anyway, here’s what I mean – something ostensibly mainstream (if a little cult-ish), definitely not softcore porn, but hot nonetheless. An example, if you will.

Appearance: Dead Like Me, Series 1: “Rest in Peace” (2003)
Characters: Mason & Goth Girl

In before anyone trying to tell me that it’s actually requiescet in pace. “Rest in Peace” is the name of the episode. Look, shut up, I can only go on what IMDb tells me.

We don’t get Dead Like Me over here in the UK, and as far as I’m aware, it’s never been shown on UK TV (although it seems like a programme that E4 might pick up) – a Bryan Fuller comedy-drama series focusing on George (Ellen Muth), who dies early on in the pilot episode, becoming a reaper, one of a team who guide the souls of the dead towards the afterlife. A bit like watching Last of the Summer Wine, really.

Mason in pain. Can reapers feel pain?
“Ow! Bloody ‘ell! You motherf…”

Anyway, the scene I’m going to focus on features British reaper Mason (Callum Blue, Secret Diary of a Call Girl, Princess Diaries 2, Smallville), who – as far as I can tell, since I haven’t actually watched the show – is incredibly British, on account of the fact he says “bloody hell!” in this scene. After getting slapped in the face by a little kid in a video store (hence the aforementioned profanity), a sexy goth girl (Jewel Staite, who has also starred in Firefly, which I’ve never been interested in) appears, holding something Mason dropped.

DIALOGUE!

A very, very, very, very, very, very, very, very, very, very, attractive girl
I love her style, and I love her smile!

Goth Girl: “You dropped this.”
Mason: “Yeah.”
Goth Girl: “What’s ETD?”
Mason: “Estimated Time of Death…”
Goth Girl: “What is this? Whose Estimated Time of Death? Who are you?”
Mason: “I’m Mason! Can I have this back, please?”
Goth Girl: “What are you, some kind of grim reaper?”
Mason: “…yes?”

And that’s it. That’s all we need to set up some impromptu sex. Porn doesn’t even do that. We’ve got Mason and the unnamed goth girl circling each other, and some very clever camera work (which is, apparently, a motif of the series) involving a quick pan accompanied by an electric guitar slide, and then sex! Fantastic!

Hey, those are nice boots!
I noticed this, so of course I took a screenshot. Now you know.

So, yes. Mason and the goth girl have rough, dirty sex inside a listening booth (or possibly a janitor’s closet… or both…) in the store itself. We can tell they’re having sex because the production team saw fit for the goth girl’s Dennis the Menace-patterned knickers to be around one of her boots, but to be fair, we could have worked that out without the shot. Nice touch, though.

The sex is quick (as I said, this isn’t porn), but hot and energetic. It’s the kind of instant sex fuelled by nothing except lust (and maybe a little fascination with death in her case). There’s a lamp swinging back and forth, occasionally throwing them into shade and occasionally sharp relief. Oh, and Mason is hot and Jewel is hot, and she’s wearing a very attractive goth outfit and she’s very clearly in control here.

I love this stuff.

Maybe they're singing opera?
“I’M A REAPER!”. Yes, we get it.

The thing that drives this scene is the dialogue that continues throughout the sex. The goth girl, who’s quite clearly fixated on a certain aspect of Mason, grabs him and elicits him to “tell me what you are!” a couple of times, quite forcefully (well, wouldn’t you?). After timidly realising that “I’m a… I’m a reaper?” gets her going, Mason picks up the pace, shouting “I’M A REAPER!” so loudly the whole shop can hear it.

Probably should have checked that the booth was actually soundproof. Get it together, shop owning guys.

Scandalised public… and it isn’t even Britain!

Even the way they exit the booth is clever (again with some good camera work). Jewel seems unconcerned and cool as a box of frozen cucumbers; Mason, on the other hand, is dishevelled AF, and without a word… he gets slapped again.

Usually I’d mention scenery (it’s good here), music (metal here, which is appropriate), characterisation (no context, so I’ve no idea), and relevance to the plot (…again…). But this is different. Dead Like Me is a programme with a production budget. You’d expect it to look good, sound good and have good actors in it. I can’t comment on the rest of the series, but at least for these eighty seconds, those are there in spades.

And so they should be.

Clearly in a state of disarray
Goth Girl doesn’t seem to be fazed by any of this. I can’t quite say the same for Mason.

The point I’m trying to make, convoluted as it may be, is that it doesn’t need to be a sex show to have sex. Lots of people have sex for all sorts of different reasons. I’m fairly certain that being dragged off to a side room by a goth girl for a quick shag doesn’t happen a lot in real life (it’s certainly never happened to me), but then again, I’m also fairly certain that dead people don’t get appointed as a gang of reapers, so I can forgive the slight ridiculousness of the set-up.

And, apart from anything else, this does make me laugh.

Soft Porn Sunday: Veronica Vain & Andrew Espinoza Long

The world has been waiting.

In 2001, the population of the world looked on aghast as, following the most controversial election in history, Lex Luthor was sworn in as President of the USA. Nineteen years later, these memories have been all but undone, the world having moved and and looking in a different direction – all except ILB, who continues to churn out his own memes with multiple pop-culture references in the space of one single paragraph.

And then there’s the other sort of waiting. We have been waiting for something else to happen – something wonderful – something I’ve been predicting for a while. It made us wait a long time, but it finally has come.

Which reminds me, inevitably, of Escape from Pleasure Planet.

Appearance: Escape from Pleasure Planet (2016)
Characters: Cassia & Agent Daniels

Guy in a suit. How official.
*dialogue*

It’s almost inevitable that Cassia (Veronica Vain), who presumably is an alien because very few humans have breasts that humongous, will end up having sex at least once during the course of Escape from Pleasure Planet. She kisses Aria (Erika Jordan) once, but as we all know, Aria ends up having sex with the sentient pleasure android by the side of a swimming pool, instead sending Cassia off to Earth to do… I don’t know, evil stuff. It’s been a while since I watched this.

Of course, the US Government has to get involved, so while the heroic characters are busy getting laid in a variety of amusing ways, General Randall (Michael Gaglio) sends Agent Daniels (Long) off to find the aliens.

Daniels finds the aliens, has sex with one of them, and then appears in a completely inappropriate orgy scene at the end in which he has sex with every female character at least once. (I can’t do that scene; I’d get RSI.)

Cassia having a bit of a bounce.
“My head isn’t little. It’s just that my breasts are humongous.”

I mentioned waiting, and that isn’t wrong; Veronica Vain doesn’t wear a bra throughout this entire movie, and what’s left of the clothing doesn’t leave much to the imagination, and yet it’s almost an hour into the film before she has her first sex scene. Her character, Cassia, is a sexy assassin looking for an escaped princess; Daniels is an idiot working for the FBI looking for whoever – he has a less defined mission. When they confront each other, very little happens until Cassia decides to try sex (“Why don’t you show me? But no funny business!”). There’s also a convenient sun lounger nearby.

Hey, this thing writes itself!

Retromedia Entertainment – and I’m saying this from the point of view of someone who’s seen four of their films, so it appears to be a thing – specialise in long sex scenes, and this one is particularly long and features Long, so it’s a long Long sex sce… no, I’ve gotten lost here, let’s backtrack. There’s a relatively quick cut to the aforementioned sun lounger (clothes are lying around but there’s no disrobing here), and we start with Daniels giving oral sex to Cassia.

Who has rewarded our waiting by finally being naked. Her breasts are humongous.

Vain’s acting, for all the ridiculousness this film might contain, is probably the best in it. She’s been the right level of menacing throughout, and now that she’s (meant to be) having sex, she’s making all the right sort of noises. Assuming, of course, that this is her first experience of oral sex (the dialogue suggests she is a virgin), she’s moaning in a sort of “oh Lord, this is amazing!” way – not the high-pitched screams of hardcore porn or the muffled sighs of arthouse softcore. Just irregular, sexy moans.

A rather shaved bottom.
Don’t know about you, but I reckon he’s a bit of a bum man.

She even does some stuff with her body, holding onto the lounger with her hands and writhing a bit and whatnot. Daniels is doing basically nothing, so there’s at least something there, being relatively entertaining to the casual viewer while they fap.

After a while of this – and with no change in the sexy moans – we cut to an annoyingly close-up close-up of sex in the missionary position. At least, I think this is sex, but we can’t see anything other than Cassia’s and Daniels’ head and shoulders, so it could be anything, but I doubt they’re playing Donkey Konga with their feet, really. (He says, as there’s an immediate pan from face to bum, which confirms they are indeed having sex, if you can stand looking at Long’s arse for that long).

We even get oral sex from Cassia, who seems to be very skilled for someone who’s never done so before. There isn’t much more to say here, it’s the usual soft porn blowjob with hair blocking anything too specific, but it’s something.

Guy in the sun.
Andrew Long has a nice snooze in the sun.

Something in this scene’s favour, however, is that while giving oral sex, Cassia doesn’t make any sounds – some softcore flicks overlook this and put in the moans anyway. Since her mouth is hella busy right now, it’s Daniels doing the noises. He’s not fantastic at it – and there’s an amusing bit where Long appears to forget where he is and zone out while sunbathing – but it is, at least, something they put a little bit of thought into.

We then get reverse cowgirl from a number of angles, followed by doing it standing up against a fence, and then on the fence, and then on the fence in a different position, before it fades to black and we cut back to Aria, reminding us that there’s a plot in here somewhere. The whole thing takes place against the backdrop of a nice forest and is overlaid by some pretty piano music and everyone has a lovely time.

So why do I have an issue with this?

A beautiful forest landscape.
This is, of course, impossible.

As I said above, this is a long sex scene – over five minutes at least – and, although it does have variation in sex positions, camera angles, lighting, depth of space and participation (mostly focusing on Cassia, but Daniels gets some screen time too), it’s precisely that length of time that puts me off. I like a long sex scene, sure, but the fact that this is just two actors bumping and grinding for a few minutes – sexy as Vain might be (Long isn’t much to look at) – just gets… well…

…boring.

And that’s the case with a lot of longer scenes, no matter how good the mise-en-scène may be. If it works for the first few minutes, then cut it off there. The plot here declares that Cassia sleeps with Daniels as a kind of sexual awakening: you can do that, as well as arouse the viewer, in three minutes. You don’t need to do it in six.

It’s a very rare occurrence that I get bored with softcore, and even more so that I get bored during a sex scene. These scenes are probably long enough to give the viewer something to fap to (and, incidentally, these are all porn actors, so sex is what they do on screen whether or not they’re in a softcore movie), but when all is said and done, this is a sci-fi story with sex in it, and if you’re going to be invested in the plot, you need to move on with a quicker pace.

Otherwise it ends with me… well… waiting, I suppose.

Keeping the British End Up: The Amorous Milkman (1975)

I started to watch this one with more than a little trepidation, I will admit, on account of the fact that I had only seen it once, and even then, only half of it. In fact, just about the only thing I remembered about it was the alarm clock with a little doll that dings out erections as it chimes (really) and sex being replaced by a train going into a tunnel (which doesn’t actually happen – something of a false memory there…).

What I didn’t recall was the plot, if there was one, and therefore I went in relatively fresh before reviewing…

The Amorous Milkman (1975)
Director: Derren Nesbitt
Starring: Brendan Price, Diana Dors, Julie Edge, et al.

First off, the sound quality is terrible. There’s a huge amount of background hiss throughout the whole thing, although this probably has been recorded from some VHS tape somewhere (I can’t imagine there’s ever been a DVD release), and even then, this probably didn’t have the hugest of budgets, it may just be there, as a feature. I’m going to ignore that, though.

The Amorous Milkman poster crediting Julie Edge as the star. Why?
Julie Edge is credited first. Why?
Answers on a postcard!

This one’s called The Amorous Milkman and is yet another of these comedies that has the name of a salt-of-the-earth working-class type job in its title, on account of the fact that you probably wouldn’t be able to tell that from the huge milk float our title character rides and the bottles of milk he delivers throughout. In fact, Brendan Price is even credited at the start as “The Milkman”, as if the character doesn’t have a name!

The title and premise are somewhat misleading, however. Davey (Price) is a young milkman who lives in a tiny bedsit, complete with erection alarm clock, who can only wake up with the sound of an aeroplane seemingly close by (too close; you’d think he lives in the airport by the noise itself!). He’s also very British, warming up a copper kettle on a gas hob to make a cup of tea in the morning. His first line also contains the word “bloody”.

British, you see. Cor blimey, guv’nor.

"The Amorous Milkman" in questionable yellow typeface.
And it was all yellow…

There’s even a British sex comedy opening, with a jaunty theme tune over a “morning routine” montage (including walking down all the stairs in his building using the same shot multiple times – a cunning bit of trickery also used by student filmmakers everywhere) and the titles superimposed in yellow (also a colour they use a lot…). And off he goes with his milk.

One would expect, I think, for the rest of the film to be fairly routine, with Davey delivering more than just a bottle of milk to the succession of bored housewives he meets along his route. Indeed, it does seem to be setting that up quite nicely, introducing us to Rita (Diana Dors), unsatisfied with her stuffy second husband Gerald; Janice, who we first see in the bath; a drippy young lady who patches Davey up after a bad fall; and a dog owner.

After a huge roaring bark which I could swear was also used for Knightmare‘s Festus, Davey falls over and hits his head. Of course, it turns out that this fearsome beast is just a small King Charles spaniel, but then we all saw that one coming, didn’t we?

Davey & Janice
She’s an attractive girl.
He’s got a mullet.

The thing is, that he doesn’t actually seduce any of these women until much later. The Amorous Milkman spirals from campy sex comedy into something of a drama about romantic misunderstandings, what with Davey managing to get engaged to multiple girls (Janice, and sexy brunette Margot (Nancy Wait), not to mention Julie Edge’s Diana, also a love interest) while not having sex with any of them.

In fact, in a similar vein to Adventures of a Taxi Driver, there’s even a dodgy friend, and a crime caper bit which ends up with Davey standing trial for indecent assault! Once again, this is a comedy which ends up trying to be something else – I would have preferred repetitive sex scenes with a number of housewives, to be frank!

A mass of writhing bodies meant to represent an orgy.
The orgy. Yes, I know.

Like a lot of ’70s sex comedies, however, there isn’t really a large amount of sex. There are, and I did remember this correctly, brief snatches of sex between Davey and other women lasting about a second long (and often in an odd colour like red or blue – maybe to make it more “memory”-ish), and there’s plenty of inoffensive nudity too, such as bars with topless waitresses, a party will a full-on orgy going on, and an art nouveau film-within-a film scene, where the flick they’re actually watching reminds me of real soft porn!

Pornception!

In fact, at one point during which Davey does manage to get into bed with Margot, very little is actually seen – and what there is is intercut with wartime footage… namely:
(i) a warplane
(ii) soldiers
(iii) more soldiers
(iv) Hitler
(v) a battleship firing
(vi) another warplane
(vii) pipers playing an Edinburgh tattoo
(viii) explosions
(ix) …a flamethrower? Why?

There are even some attempts at groanworthy verbal comedy (“I hope I didn’t hurt your pussy” – it’s a cat, you, see, a cat, there’s some Mrs Slocum levels of smut there) somewhere, but if I hadn’t written it down I probably would have forgotten it!

A sex scene, dimly lit.
It’s the most you’re getting.

My guess is that The Amorous Milkman is the result of a curious experiment, throwing sex comedy, romantic misunderstandings, Shakespearean farce, courtroom drama and a milkman into the mix, filming it all and seeing what sticks. Then again, it’s actually based on a novel (by the director), which I haven’t been able to obtain, so I can’t simply go and check if this is just a filmed version of said novel to begin with!

My head hurts.

For all I’ve said, though, this flick isn’t actually bad. It’s not good, but it’s not terrible. Frankly, I was expecting worse.

And I’m really glad I don’t live in his bedsit.

Soft Porn Sunday: Jennifer Behr & Paul Michael Robinson

Something I’ve always said – at least, that’s how I’m starting this post; I’m not sure if I’ve ever actually said it – is that one’s enjoyment of porn, as with all genres, is largely situational. Take into consideration setting, angles, music, cinematography, mise-en-scène and all the other things media students have to pretend to care about, and put it into context when you’re choosing porn – there’s a noticeable difference.

Don’t believe me? Okay, think of some porn you like. Why do you like it? Is it the actors, the situation, or the scenery? It’s probably well-lit. If it’s a sex act you like, are they doing it well? If you come, what makes you do so? And what makes this so different from the porn you dislike?

For me, character is the most important thing. I want to know who’s having sex, where they are having sex and why they are having sex – even if it’s just my favourite trope, “because they can”. It makes a genuine difference, and even the slightest of changes is the sort of thing I notice. Soft porn is an easy genre to do this with, because you get the same actors appearing in multiple films. My first thought was to choose two scenes to compare featuring “good ol’ Jason Schnuit” – but I really needed a scene featuring two actors together who have done another scene, playing different characters and preferably in a different setting.

COME THROUGH, JUSTINE!

Appearance: The Adventures of Justine 6: A Private Affair (1995)
Characters: Madame Souvray & Klauss Heinmann

The barman looks like he's ready to kill, frankly.
Justine, Klaus and a hella suspicious barman.

Since the last time I mentioned it, I’ve managed to battle my way through the entire Justine series and, oh boy, what a mission that was – although, once I got the hang of the Indiana Jones-lite escapades and the “it was all a dream” fake endings, it was quite an amusing endeavour in the end. I picked this scene because:

a) it’s a genuine sex scene which lasts more than 15 seconds
b) Paul Michael Robinson’s in it

I’ve featured Paul Michael Robinson and Jennifer Behr (pronounced “bear”, like the growly animal) before, as Haffron and Ursula in Emmanuelle. That scene, for what it is, is hot – and, what’s more, it’s grown on me over time. in Justine,, obviously, they play other characters… but they still manage to get their kit off and bang, so I’m completely justified in doing this doing this.

Behr plays Madame Souvray, one of the very few characters to appear in every Justine flick. She’s the fussy, stuffy teacher who nobody likes very much. Robinson plays several different characters, all named differently and who are, confusingly, all villains – so are we meant to know they’re separate characters, or are they just an evil Haffron changing faces? This one, in any case, is duplicitous Klaus Heinmann, with perhaps the most questionable German accent since ‘Allo ‘Allo!.

Bless.

The set-up for this one is fairly simple, although admittedly quite contrived. Everyone’s on a train for whatever reason, including Klaus, who is masquerading as a porter (check out his uniform!). Souvray, who’s horny all of a sudden, throws caution to the wind – “no names, no fake promises… just you and me, and the moment…” – and retreats into a luggage cabin to get it on with the guy who’s trying to kill her boss.

D'oh!
To be fair, he’s got the right idea.

I mean, if it works…

The scene starts (after the aforementioned dialogue) with the customary disrobing, which is – actually – unusual for ASP; they usually cut straight to the nudity. Souvray is taking the lead here, being the more seductive of the two – although we see her boobs long before Klaus so much as takes off any more than his hat – we also get periodical mixes to train tracks, too, to remind us that we are indeed on a train!

Plenty of kissing – not just lips against lips – preceded Klaus getting his uniform off – although Souvray does that most herself. He doesn’t actually take his vest off before the sex starts, either, so we get a semi-nude Klaus and a bestockinged Souvray doing it up against a rack full of suitcases. How bizarre – Haffron barely managed to put any clothes on to begin with. I suppose this is Robinson’s “difficult middle period”.

As sponsored by the underwear department at your local M&S.
Is this seduction? Or calisthenics?

The sex is approvable, if fairly routine. It’s all done standing up – well, it would be, this is up against the rack full of suitcases – and doesn’t really do anything you wouldn’t expect it to. We have some thrusting from Klaus and some bouncing from Souvray; occasional mixes to train tracks jump in to provide handy cuts to different angles. Halfway through the scene, they switch to a kind of standing doggy style, with Klaus doing Souvray from behind as she holds onto the top shelf for support… a nice touch, really.

He can certainly handle all her baggage.
Health & Safety would have a field day.

I’m also getting a standard early-’90s ASP vibe from this too. There’s a gradual but noticeable increase in speed, overlaid moans from both characters with greater volume as time goes by, and a very definite orgasm point, which – as was standard in Emmanuelle – is signalled by a single “uhh!” from Robinson. That’s basically it. We know what we’re getting, and what we’re getting is solid, a refreshing difference from the soft-focus dreamy sequences the series usually affords us.

So why don’t I like this very much?

It has all the ingredients I should like – two very attractive people having sex; the “just because they can” justification; somewhere unusual that isn’t just a bed in a hotel room; plenty of nudity and energetic, lusty sex. It even has acceptable music, which helps to carry the sex but isn’t too intrusive. By all rights, I should like this. It’s by far the best sex scene in A Private Affair and possibly the whole Justine series. What’s wrong with me?

I had to puzzle this one out for a while, before it hit me. It is completely to do with the characters.

I don’t mind Madame Souvray too much. I mean, I like Jennifer Behr and I’m quite fond of the way she plays the character. Her other sex scenes in the series are quite good, too. It’s also quite nice to see a main named character having sex, as that doesn’t often happen in Justine. The problem I have, I think, is with Paul Michael Robinson. I’m aware that he is playing a completely different character here, and a villain, to boot… but I’m so attached to the idea of him playing Haffron that it’s jarring to see him doing anything else – like a bum note in a familiar song.

I should be above such petty comparisons, but as we know, I take my softcore seriously and I like what I like! I like Emmanuelle in Space and I especially like Haffron. I don’t particularly like Klaus and, as I’ve said before, the Justine series could have been better than it actually is (which is a shame). The scene I’ve just looked at isn’t bad – it’s just disconcerting. I spent half the time trying to get into it and the other half wishing I was actually watching the other sex scene between Behr and Robinson from Emmanuelle!

Which just goes to show two things, really.

One: Character is important.
Two: I’m not difficult to please… I’m impossible!

Soft Porn Sunday Special: The Adventures of Justine

Let me be the one, Justine
Let me be the first, Justine
To have you, and hold you…

Blue DVD case with several film titles listed. Justine is there, but she doesn't look like she does in the flick.
Justine doesn’t actually
look like this.

It’s been a while – in fact, it’s been so much of a while that I can’t put a number of years to it – since I first watched the Adventures of Justine series. It was shown all of twice on L!VE TV in the late-’90s, and I once accidentally got sent a copy of a Justine flick when I’d actually ordered Emmanuelle. (I watched the sex scenes and then sent it back.) The fact that I’ve been re-watching it recently has me thinking… was I assuming it was anything other than what it actually is?

Time for AN INVESTIGATION!

For those of you who aren’t aware what Justine is – and relax, it’s in no way based on the book by de Sade; I had to look that up too – it’s another series of seven erotic adventure(ish) films made by the same people (almost exactly the same people) who made Emmanuelle in Space. By which I mean, without hyperbole, it’s got the same directorial team, same crew, same sets, same cast (with the only variation being the principals, and even then there are some returning actors), and even some of the same music, which I hadn’t noticed until rewatching the second in the series the other day.

Justine follows the traditional ASP line of having seven volumes with pretentious names, some of which being known by alternate titles because actually I have no idea why. According to the DVD cover, they are:

Volume 1: In The Heat of Passion
Volume 2: A Midsummer Night’s Dream (presumably with apologies to Bill)
Volume 3: Object of Desire, also known as Wild Nights
Volume 4: Exotic Liaisons, also known as Exotic Liaison
Volume 5: Crazy Love
Volume 6: A Private Affair (written by Brian Clemens OBE, although how he got involved…!)
Volume 7: Seduction of Innocence

while Wikipedia lists them as:

Volume 1: Exotic Liaisons
Volume 2: A Private Affair
Volume 3: Wild Nights
Volume 4: Crazy Love
Volume 5: Seduction of Innocence
Volume 6: In The Heat of Passion
Volume 7: A Midsummer Night’s Dream

and there’s even some ambiguity as to when these films are dated – some are 1995, some ’96 and even some as ’97. I’m going to guess that ’95 is the closest bet, as Emmanuelle in Space is from ’94 and it’s quite clear there was very little break between filming both series.

Justine, a blonde college girl, is completely obscured by the word "JUSTINE" in obtrusive white text.
It’d be more impressive if you didn’t have your name obscuring your entire face during the opening credits.

I’m not entirely sure what Justine is meant to be – perhaps an erotic spoof of Indiana Jones, perhaps a college girl tale with fantastical elements, or probably just “a way to use up ASP’s budget” – but the resulting product is incredibly episodic, so it doesn’t seem to matter what order you watch these films in (I’m going by the order on the DVD cover). Internally the films are also a series of individual adventurey vignettes, so one could achieve the same effect by broadcasting the Justine series as half-hour episodes. Only nobody would watch that.

So, yes. Justine Wikenson (Daneen Boone, who also appeared as “Girlfriend” in Emmanuelle) is a smart and precocious, yet incredibly innocent, college girl at an academy for gifted students (Topacre). Her best friend Ursula (Kimberly Rowe, Angie in Emmanuelle) is smart and sassy, but also incredibly sexually active – the only one to have scenes like this – while Madame Souvray (Jennifer Behr, Ursula [confusingly] in Emmanuelle) is a female teacher… possibly the head of the academy, who cares?

Robson, a tall man with dark hair, embraces Justine. They are both naked.
Robson and Justine as a medieval queen. Don’t worry, it’s all just a dream.

The male lead – Professor Paul Robson (occasionally pronounced “Paul Robeson”, amusingly – is played by Timothy DiPri, who also played Theo in Emm… you get the idea. Robson is meant to be a bespectacled, yet handsome archaeology lecturer who just can’t resist getting his hands on some random historical McGuffin, throwing him into a world of intrigue. Justine interferes and gets captured (yes, in every single film! This girl gets captured seemingly as a hobby!); Robson manages to rescue her and…

…okay, here’s the other series trope. It was all a dream.

I’m not making this up. Justine’s adventures are mostly dreams she’s having either in the middle of Robson’s lectures or while writhing on her bed in sheer négligée. They genuinely don’t need to write endings to these storylines because they’re all actually dreams!

Justine, asleep in bed, which is basically the only place we ever see her.
Oh, Justine! Wake up – you’ve written an adventure film in your sleep again!

So what’s Justine studying, then, sleep? I’ve never seen her do any actual work or take an exam or anything… not like she pays attention in class, either, as she suddenly slips into an archaeological adventure seemingly completely at random!

Originally I intended for this to be a standard SPS review, where I took a scene and analysed it in-depth. I can’t bring you one, however, because the other thing I’ve managed to discover is that there’s very little sex in this sex series.

Justine is a virgin and manages to remain so throughout the entire thing (fetishisation much?), while all the kinky sex with random guys is the remit of Ursula (slut-shaming much?). While there’s meant to be a little “will-they-won’t-they?” between Justine and Robson, this never actually happens, so there’s no pay-off. There’s plenty of inoffensive nudity from Justine, as she’s particularly keen on changing into nightwear at the drop of a hat… but there isn’t an awful lot of sex.

And when there is sex, it’s often brief, poorly lit, and cuts off before any actual penetrative sex is meant to be happening! It’s very frustrating!

I suppose one positive thing about this (apart from Paul Michael Robinson, formerly Haffron, who plays a villain in this with the most lacklustre German accent I’ve ever heard – always a gem!) is that, in what was clearly quite a short space of time, ASP managed to wring seven adventure films out on what was also probably quite a limited budget. Daneen Boone tries her best, but she doesn’t have the inherent sexiness of Krista Allen as Emmanuelle, and frankly she’s such a drip that it renders her character quite unlikeable.

Justine, in very revealing nightwear, masturbates while having a dream. She has a lot of dreams.
At least she has the impressive ability to masturbate while sleeping.

But the adventure aspect is good. I’m sure I’d appreciate this more were it not for the “it’s all a dream!” epilogue, but at least they’re trying something different with it. I’m not sure it works, coherently, as a whole – they get lost a few times with what they are trying to do – but at least it has the bare bones of a series all in place.

I just wish there were a little more sex, that’s all!

Keeping the British End Up: Rosie Dixon – Night Nurse (1978)

When I was a teenager, I used to keep a list of films that I saw on a little corkboard behind my PC’s monitor, and specifically films I wanted to see again. For a while, it consisted entirely of Beneath the Valley of the Ultravixens (1979), until a few months later I added Rosie Dixon: Night Nurse. Presumably, at the time, I liked it; looking back on it now, I have very little idea as to why.

Rosie Dixon: Night Nurse (1978)
Director: Justin Cartwright
Starring: Debbie Ash, Carolyne Argyle, Beryl Reid, et al.

One of several posters. They're all the same, really.
I’m sure it is.

ILB’s Trivia Corner: This is apparently based on a novel by Rosie Dixon, framing it as an autobiography, of sorts. You’ll be shocked, I’m sure, to find out that Rosie Dixon doesn’t exist. She is Timothy Wood, who wrote both the novel and the script for this film. He also wrote a glut of Confessions books as Timothy Lea, four of which got turned into their own sex comedy movies… but that’s for another time.

So, yes, anyway. Rosie Dixon stars Debbie Ash as the titular Rosie, who suddenly decides she wants to be a nurse, and INSTANTLY BECOMES ONE because apparently you can do that without three years of training. The general idea is that randy male doctors and characteristic old man patients (there are a lot of old men in British sex comedies, for whatever reason) can’t keep their hands off her. It’s a threadbare idea, but at least it is an idea.

It’s just executed poorly.

As an example, there is a scene where an old man in a motorised wheelchair continuously pinches Rosie’s bum, and then wheels away before she can notice it’s him. This happens a few times and, despite the fact that there’s nobody else around, she still doesn’t realise it’s him. This is, I presume, meant to be funny, but it isn’t – it’s just stupid. There are a few scenes like this, but this sort of stuff belongs in Doctor in the House. This is a sex comedy; there should be more tittilation than this.

So to the sex bits.

Rosie, Penny and some rando
they put in for whatever reason.

This film has a fair amount of inoffensive nudity, including a shower scene, but unless you are a very young teenager, this isn’t really going to arouse. It’s just naked bodies; you’ve seen them before. One of the main plot points of this film, though, is that Rosie is sexually inexperienced – she doesn’t actually have any sex until the very end of the film, and that’s with one of the doctors, Tom Richmond (Peter Mantle). She’s the star, and she spends a lot of the time not getting laid.

To facilitate this, we have the introduction of Penny Green (Carolyne Argyle), who is both sexually active and very physically attractive. She even has some relatively decent lines like

Penny: I used to be a travel courier, but I had to give up.
Rosie: Why?
Penny: One night there were fifteen ski instructors scratching at the door of my room.
Rosie: Goodness!
Penny: But I wouldn’t let them out!

but those are few and far between. Her main job is to be sexy and sassy, and during both sex scenes she actually has sex and is sassy about it, so I guess that character works, insofar as she is supposed to do what she does.

So, the sex scenes. There are two (two!), and neither is particularly explicit; they always follow a certain pattern, as well, which is:

(i) seduction, although usually very brief
(ii) sex begins happening with Penny
(iii) sex begins happening with Rosie (although in the first scene she’s under a bed with others having sex atop it)
(iv) sex intensifies by way of sped-up footage and overlaid sex noises
(v) quick cuts between Rosie and Penny intermittently implying that this is all happening at the same time
(vi) at some point, the theme tune comes in, so we have “Rosie, my love, don’t change a thing” sung over very unconvincing love-making
(vii) everything ends explosively, in a “humorous” way

The first sex scene is actually pretty okay. Penny is being seduced by (although she actually does more of the seduction herself) Dr Seamus McSweeney (Ian Sharp). Seamus has spent a while trying to get his British end away with anyone who will be receptive, like

Seamus: With your combination of beauty and sensitivity; to be in your presence is to glow.
Rosie: Well, I’ll make you a cup of coffee, and then you can glow away.

and eventually accosts Penny during a night shift, and things go from there at the speed of Billy Whizz on amphetamines… and they have sex on a massage bed. Rosie, meanwhile, almost has sex with one of the abundant old men in the hospital, but he instead ends up having sex with the matron (Beryl Reid… yes, that Beryl Reid), and we don’t even see that, so we cut between Penny humping Seamus (she is on top) and Rosie’s head underneath squeaky springs.

And that’s it.

It’s a humorous, relatively sexy diversion, and it even happens at night, which I guess means we can justify the title of the film after all. The main problem, however, which affects the whole thing, is the second sex scene.

As I’ve said before in this review, Rosie has sex with Tom in the end (in an attic; Rosie assumes he’s brought girls here before, and he says

Tom: I haven’t… but someone else may have!

which poses more questions than it answers). Penny, however, has a thing for a man in traction covered completely in bandages (Jon Lingard-Lane), who can’t move at all, or speak or do anything at all, but allegedly she is enraptured by his eyes. So it happens that, while Rosie and Tom are having cheese-sandwich missionary sex (and end up falling through a ceiling, for the lulz), Penny appears in traction, mounts the patient in plaster, and effectively rapes him.

Well, I say “effectively”; that’s, in fact, exactly what she does, and the final scene (which – spoiler alert but not really – has both main characters getting fired) has her gleefully admitting that she raped a patient – yes, those exact words. That, as you may have gleaned from my words by now, is not funny.

Rosie and Director Bones from DC Comics
Skeletor was on set at one point.

And that is a shame. You see, from looking through this film retrospectively as I have, I can actually see the “comedy” in “sex comedy”. Yes, it’s crass and it’s rude and it’s blunt – they may as well have a stage hand with a neon sign saying “laugh” at certain points – but there are some funny one-liners, and the banter between characters is cheap and cheerful. The physical aspect is a little on the nose, but it’s clearly intended to make you giggle, and all the actors look like they’re having a whale of a time making this.

But the plaster scene, though. I mean, without it, this would probably be my favourite. With it, though, I just can’t get over that mental picture. Penny is naked in it, too… and that’s worse, in a way, as that’s the sort of nudity you want to see!

Overall, then, this is a valiant attempt at making something that’s sexy, funny and inoffensive, good as a distraction at midnight, but more or less completely overshadowed by a very poor decision at the end. Story of my life!

Soft Porn Sunday: Beatrice Baldwin & Glenn Ratcliffe

First Soft Porn Sunday on the new(ish) blog and it’s one I’ve been promising for ages – months, even – without bothering to get off my arse and do so. Cracking stuff, ILB.

This is, in any case, the third in a series of four sex scenes from Compromising Situations‘ third-series episode Centerfold [insert “shudder at the American spelling” here… again…]; additionally, as with the first two I reviewed, this features Glenn Ratcliffe as lackadaisical photographer Joe who… hell, just go and read the first two, okay? I’ll wait.

Appearance: Compromising Situations, Series 3: “Centerfold” (1996)
Characters: Angela & Joe

There were two in the bed and the little one said...
I am pro-soft, so…

So, yeah. This scene takes place on an incredibly fluffy bed with a pretty blue/grey colour scheme (which extends to the curtains and whatever’s going on outside the Perspex window they have there), which both serves as a location and outside fuel for my seething internal jealousy (my bed is about as soft as one of those Whomp enemies from the Mario series). The Sully-themed duvet cover does, however, look a little itchy, so why they’re getting naked on top of it I’ve no idea.

I mean, it’s obvious why they’re getting naked. I’m just slightly distracted by the colour scheme.

There isn’t really a lot of nudity here, for what it is. The scene starts with kissing – and they’re very keen to show you that it’s kissing, judging by the fact that they’ve overlaid kissing sound effects, which cut out suddenly when we cut to Joe doing some odd kind of horizontal kiss on… her breasts? Her collarbone? Random bit of skin? It’s confusing, but it doesn’t matter, because 32 seconds in we fade to insta-sex, SO THAT ESCALATED QUICKLY.

Laundry's going to have a field day.
To be fair, I do quite like the discarded clothes. Shame they vanish later on.

The sex here is positioned in an odd way facilitating it to happen neither under nor on the covers (or maybe they are just trying to avoid the itch); Joe is on top of Angela, or kind of… they are rolling around a bit, but I’m assuming this is meant to be missionary… with the covers pulled down and keeping their feet warm, but the rest of their bodies on display. One does have to wonder exactly why they’re doing neither one nor the other. Softcore doesn’t tend to have this kind of quandary.

There is evidence (or at least pervasive urban rumour) to show that having your feet warm during sex makes for a more satisfying experience. Scientifically, you can lose a lot of heat through bare feet, which lends some credence to the idea, although during good energetic sex you are building up heat, so maybe a fair outlet is beneficial. Whatever. Maybe Joe and Angela are keeping their feet warm to facilitate better lovemaking while also having their top halves bare so they can mutually admire the person they are making love to.

But. y’know, probably not.

It’s nice to see the undersheet also corresponds to the colour scheme, though.

Anyway, so yes, sex. As I said before, Joe is kind of on top here, but they are rolling around a bit so at points it’s a little difficult to tell. At 00:44 we get a quick fade to something more close-up (where we get the first good look at Beatrice Baldwin’s face, which reminds me of Salma Hayek) with yet more overlaid kissing sounds and then one of the least appetising screen kisses I’ve ever seen, but there’s still very little indication that actual sex is happening. It’s clearly meant to be, but this is much more like foreplay than sex (even by softcore standards), and even then, it’s not particularly invigorating.

The claw is our master!
“I won’t go on
if I’m clawing you…”

Maybe it’s all that sex with other women that’s tired Joe out, or something.

The subsequent cut makes this all the more confusing, as Joe (who is doing something odd with his hands as if he’s trying to read Braille) is clearly not meant to be inside Angela, unless he’s somehow fucking her knee (we also get a view of his very square arse, which I hadn’t noticed before and will never now unsee!); if he was meant to be having sex with her before, why isn’t he now? Is this in the wrong order, or are they just trying to be super-realistic and have them take a quick break?

Okay, at this point I have nothing to say because there’s an over-long shot of Beatrice Baldwin’s boobs, so I’ll talk about the music, which is utterly mystifying. It consists entirely of a hi-hat rhythm with apparently random snare and bass drum hits, coupled with a strange ethereal synth line and occasional low thrumming notes (also possibly played on a synth). It doesn’t really sync to the scene, doesn’t actually have any relevance, and is scarily reminiscent of Muzak, which makes me unnerved, as it takes me back to department store lifts in my youth.

After twenty-five seconds of boobs (yes, that’s right – it’s all we see for nearly half a minute), there’s another mix to what, this time, is meant to be sex without pussyfooting around. At least, at this point Angela is riding Joe, so unless she is somehow shagging his belly button, this is full-on penetrative sex, and…

…oh, more kisses. Okay.

Look, I like kisses. They are one of my favourite things. I like to kiss and to be kissed. And I like them in soft porn because they have their place – especially when used strategically, like as a precursor, or footnote, to sex. A kiss can be very powerful. There is, however, a limit, and when you have – as with this scene in pretty much its entirety – multiple kisses of various body parts even when any other scene would have bump’n’grind at this point, that limit has been, shall we say, reached.

Random pillar there in the corner, because why not? Everyone like pillars.
Sure, why not?

Scene kind of ends there with (finally) a full-body shot of them not really doing very much, and a couple of snare drum hits for good measure.

This isn’t a scene I dislike so much as I find baffling. Sex is meant to be happening at certain points, but because there’s very little movement, it’s difficult to discern exactly what those points are. There’s too much of an emphasis on kissing, which would have been fine interspersed with actual sex, but I’m left at the end of this wondering why she had let him inside her in the first place, since neither of them seem to be putting any energy into it. You could achieve the same effect with a cuddle.

And the set design is sound, and Beatrice Baldwin is pretty, and Glenn Ratcliffe is… well… Joe. It has all the makings of a good scene. It is, however, boring, stilted, and uninspired. There are four sex scenes in this episode, so maybe they ran out of ideas?

Or maybe they just had a limited amount of time to film it. I mean, that would explain a lot; we all have things to do that we occasionally run out of time on and never quite fini

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