It’s incredibly how only twenty five years ago, the idea of the sub-culture of S&M and fetishes like bondage and roleplaying were still so hush and barely spoken of. In modern society we’ve somewhat turned a corner and managed to embrace kink and sexuality a lot more, but the people we get to meet in “BloodSisters” are clearly individuals that have been suppressed by a society that just doesn’t understand them.
Isabel Peppard and Josie Hess’s “Morgana” is a documentary begging to be turned in to a feature film. It’s a wonderful and heartbreaking account of sexual repression, forced domesticity and using pornography as a means of re-claiming individuality. “Morgana” is short, but it’s an engaging journey in to the life of Morgana Muses, who suddenly found herself without the demands of a marriage that offered zero fullfilment. When she’s finally free she has no idea what to do with herself. That is until she realizes sex is a big part of what kept her from blossoming as a woman and adult.
One of the most bizarre pieces of Mondo exploitation, “The Wild, Wild World of Jayne Mansfield” is archival footage of the model traveling the world that was intended to be cute for the sake of a weird travel documentary focusing on Manfield. Sadly though when Mansfield died she was further exploited by the trio of directors Charles W. Broun, Jr., Joel Holt, Arthur Knight all of whom used stand ins (the movie shifts awkwardly from black and white to a color shot of her stand in), old footage of her frolicking, and a voice over actress who came on board to narrate as Ms. Mansfield.
The nineties had a weird trend where studios took classic films and attempted to rework them in to contemporary trash films. Pamela Anderson starred in a “Casablanca” remake with “Barb Wire,” Vanilla Ice tried for his own “Rebel Without a Cause” remake with “Cool as Ice,” and oddly enough Paul Verhoeven aims for a remake of “All About Eve” with the cult Joe Esterhas anomaly known as “Showgirls.” Simultaneously lambasted and praised for being so unabashedly stupid and sleazy, Verhoeven attempts to hide a narrative better suited Skinemax than world wide release in theaters beneath thin art house veneers that fool no one.
Once in a while, the stars align and the moon shines bright enough to where a bonafide cult classic of horror cinema is born. Out of the absolute depths abysmal cinema comes one of the most laughable and painfully awful horror movies of the year. From rock icon Glenn Danzig, no less, comes his directorial debut, a live action adaptation of his comic book series “Verotik,” a title that mixes erotica and violence in to one monster. That wouldn’t be such a bad idea for an anthology. But someone forgot to tell Danzig that if you want to direct a movie, you probably should know how to operate a camera, first.
The explanations I’ve read on online for “Simon, King of the Witches” insist that the obscure Andrew Prine movie is not meant to be taken seriously. It’s strictly dark comedy. But then you watch one of the most nonsensical unnecessary opening monologues ever filmed, and wonder if the writer himself was high while creating this genre confused tedious mess. “I really am one of the few true magicians,” Simon insists in the prologue, while declaring his affinity for magic, and aspirations to be a god. It is then followed by the man being arrested for vagrancy while being hulled away from his home: a sewer.
Eleven years later, and the great recession is still echoing throughout most of America, especially with fear of a new one. Based on the article “The Hustlers at Scores” by writer Jesssica Pressler, “The Hustlers” is a surprisingly tight and engrossing crime drama. It’s one that takes the still very relevant concept of economic ruin and the ever widening class gap, and injects it in to what’s often a tense and engaging tale of people exploiting people, exploiting people.
“Cruel Intentions” is what many would describe as camp, but also high camp–which is probably why I love it so much. For a time where just about everything in the nineties was derived from classic literature only re-worked for teens (“Pygmalion,” “Emma,” “Romeo & Juliet” to name a few), I’m surprised anyone thought it would be a great idea to take “Dangerous Liasons” and turn it in to an erotic thriller marketed for younger audiences. While the movie doesn’t feature teenagers, it’s heavily dominated by a cast of young actors entering their early twenties, along with a lot of intimations toward prepubescent sex.