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7
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10
= Highest Rating |
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Guest
Review by Troy
Howarth |
Several
New York women from different backgrounds find
their day interrupted by erotic fantasies...
It's
fascinating to compare the evolution of hardcore
cinema from its development from silent "loops"
in the 1960s and '70s to its current form in the
21st century. At the beginning of actual erotic
cinema, a certain degree of care went into creating
a plot, developing some semblance of characterization
and paying attention to performance outside of
the sexual interludes. This is not to suggest
that every porno film back in the day was a masterpiece
of creative plotting and finely tuned performing,
but the erotica of this time frame nevertheless
tended to have the feel of a real movie. Compared
to the shot on video quickies of today, the aesthetic
of these films is bound to come as a surprise
to those only familiar with the average offering
from Vivid or Wicked, for example. The difference
isn't merely aesthetic, either —
the look of the performers has gone from typical-looking
people to more idealized, 'perfect' performers,
a move that actually reflects the trend in most
Hollywood films. Babylon
Pink is a good example of the '70s aesthetic.
The
story is pretty basic, but writer/director Henri
Pachard set the stage for many films to follow.
A major contribution he added was the idea of
scripted dialogue during sex scenes —
this would become de rigueur in skin flicks
for years to come, much of it so clichéd as to
be the stuff of parody today (e.g., "Oh
yeah, you like that, don't you?"). The
real invention of the story is to be told from
a feminine perspective —
the idea of putting female fantasies on film is
nothing new, of course, but Pachard's scenario
plays out in a more credible fashion. In avoiding
the crass, thoughtlessly misogynistic tone of
later sex films, Pachard treads a fine line between
good and bad taste without degenerating into prurient
disgust. It certainly helps, too, that he knows
how to stage a good sex scene. Compared with the
typical bump and grind set-piece of current porno
titles, many of which go on and on for an interminable
length of time, Pachard knows how to pace and
edit the action so that it doesn't have a chance
to become boring. The introduction of more risqué
elements, like the inevitable wide-eyed virgin
being deflowered by an experienced older man,
is sensibly played with a comedic tone, thus steering
clear of the sordidness of many films of its ilk.
Quite frankly, even at its most risqué, the film
plays far more innocently —
and appealingly —
than the many "gonzo" porn films of
today.
The cast
is comprised of familiar adult film performers
of the period. In terms of sheer photogenic appeal,
the real standouts are Vanessa Del Rio, still
one of the most stunning performers to have ever
graced the business, and the tragically short-lived
Arcadia Lake, who later succumbed to anorexia
and drug addiction. Del Rio made many films during
her long career, but her fantasy sequence here
is one of the steamiest she ever participated
in. The Samantha Fox 'submission' sequence is
also memorable, with the lovely starlet diving
into action with palpable enthusiasm. Comparing
the likes of Fox and even the buxom Del Rio to
the starlets of today, it's quite apparent that
many of the older starlets simply wouldn't make
the cut nowadays (Jenna Jameson being the obvious
example) — they quite
simply look too real. An even more startling contrast,
however, is in the male performers. '70s porno
stalwarts like Richard Bolla (AKA Robert Kerman,
the star of Deodato's Cannibal
Holocaust) and Eric Edwards (Abigail
Leslie is Back in Town) have an Average Joe
look and build that stands in stark contrast to
the buff, waxed, almost effete porno studs of
today.
Capably
lensed by Roberta Findlay (wife and key collaborator
of Michael Findlay, of Snuff
infamy), Babylon Pink
is well above average for its genre; fans should
have a good time with it.
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Media Blasters' release
of Babylon Pink,
as part of their ongoing Cecil Howard Collection
under the Command Video sub-label, is first-rate.
The fullframe transfer looks very good. While
there is some print damage in evidence, detail
is sharp. Colors are a bit muted, but this seems
to be consistent with the original photography.
The print is completely uncut. Audio options include
the original mono, as well as a newly remixed
5.1 track. The former is clean and clear, while
the latter feels like a needless addition. Extras
include the edited cable TV edition of the film,
which obviously removes all the money shots and
replaces various images with inserts, which is
worth having merely as a point of comparison;
the image is darker and muddier than that of the
uncut print. Also included are audio commentaries
from producer Cecil Howard and writer/director
Pachard, on-camera interviews with Pachard, Findlay
and co-star Eric Edwards, the theatrical trailer,
a stills gallery, and a collection of cover art
for Howard's productions. Howard's commentary
is a particular joy to listen to, and of the interviewees,
Edwards comes off as the most interesting and
articulate in recollecting his varied career.
1/24/06
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