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5
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10
= Highest Rating |
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Guest
Review by Troy
Howarth |
An
naive young woman (Lysa Thatcher) goes on an erotic journey
of self-discovery...
The evolution of the erotic film in America
is an interesting phenomenon — beginning with silent "loops",
progressing to films with actual narratives photographed on
35mm (or at the very least 16mm) punctuated with erotic interludes,
evolving today into the "gonzo" style which favors extreme acts
and absolutely no narrative cohesion. The argument over the
merits of old school vs. new school porn is an ongoing one,
and one's personal taste will of course dictate whether they
prefer watching films with some degree of technical proficiency
and some semblance of a plot or whether their interests lie
in the more stylized yet documentary-like approach of current
erotica.
Based
in New York, back when pornography had its roots chiefly in
the Big Apple and certain sections of the west coast, producer
Cecil Howard scored a big hit with Babylon
Pink and several other releases. By the time of Neon
Nights he had graduated to directing, and his films have
gone on to achieve some cult popularity among smut film fanatics.
Though his productions obviously can't compare to the modest
resources of even the more modest B films of the period, they
are a model of craftsmanship and economy when compared to many
of the porn films cranked out today. Whereas many current porno
flicks suffer from excessive padding and repetition, Howard
has a good sense of (if you'll pardon the pun) when to get in
and get out of a sex scene. Kinkier and more daring than Babylon
Pink, the film includes specialty items like foot fetishism
and fisting but never degenerates into the sickening extremes
of some of the current "gonzo" films.
The cast includes
a number of XXX staples, and they all enter into the spirit
of the proceedings with appreciable enthusiasm. Leading lady
Lysa Thatcher (Never So Deep, Loving
Lesbos), looking all of 18, is appropriately wide-eyed
and innocent in her role; her gradual 'indoctrination' into
erotic excess makes for some memorably unhinged moments in the
final, Fellini-esque orgy, however. Veronica Hart, who parlayed
her career as a XXX performer into becoming one of the industry's
better directors (she made the Ginger Lynn comeback feature
Torn, which is highly recommended)
and 'elder statesmen', making cameo appearances in the likes
of Boogie Nights and Magnolia
for Paul Thomas Anderson, is a singularly attractive performer,
not to mention an energetic one. Her sex scene with Eric Edwards
(Babylon Pink) is one of the film's
highlights. Legendary porno stud Jamie Gillis (Dracula
Sucks) makes a cameo appearance to add some marquee value.
Director Howard stages
the fun and frolic with competency, and his decision to introduce
more whimsy and stylization to the picture gives the film a
decidedly different flavor. A sequence involving Thatcher being
abducted by a horny magician who proceeds to have her levitate
while he gets busy with his assistant (a primal Jody Maxwell)
is wonderfully over the top, and surprisingly well shot. The
final sequence —
a sort of smutty tribute to Italian art house cinema —
is drenched in color gel madness but never becomes arty to the
point of distracting from the mission at hand, as it were. Though
hardly the masterpiece of erotic cinema the advertising materials
make it out to be, Neon Nights
is a good example of 80s porn —
of a time when the men looked like men, the women looked like
real women, and the sex didn't have to go for gross out effects
on a regular basis.
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| Media
Blasters' 2-disc release of Neon Nights,
as part of their Command XXX line, is most satisfying. The fullframe
transfer shows signs of the film's age and low budget origin,
but beyond some scratches and negative dirt, it offers a sharp,
colorful transfer. The mono audio track is also pleasing, serving
up the various moans and groans (not to mention some spectacularly
low rent sound effects; dig the thunder claps during that Edwards/Lake
tryst!) with clarity. The remixed 5.1 stereo track is a pointless
addition — such a high tech redux merely detracts from the film's
period charm. Extras commence on disc one, with a commentary track
by Howard, moderated by Casey Scott. As with his track on Babylon
Pink, Howard comes off as a sensible New York businessman
first, and as an unpretentious artist second. He recalls the filming
and performers with affection and seems to have a good time revisiting
one of his most popular titles. Some never before seen outtakes,
which don't amount to anything too groundshaking, and the original
theatrical trailer, full of PR-conscious ballyhoo, round out the
first disc. Disc Two includes the edited-for-cable softcore edition,
looking to be in rougher shape than the main feature. This version
removes much of the film's appeal, turning the film into a joke
without a punchline to some extent. Several interviews — with
Hart, Gillis, Edwards and director of photography C. Davis Smith
— and a photo gallery finish the supplements. The interviews are
fascinating. Gillis comes off as an entertainingly dirty old man,
all too anxious to discuss his sexual exploits yet bewildered
by the popularity of these old films ("They're not very good,"
he chuckles). Veronica Hart makes a tremendous impression — now
50 years old, she still looks very attractive and is very open
about her feelings about sex, sexuality and the porn business,
explaining her motivation for refusing to do certain kinds of
films (a socially conscious sort, she refused to perpetuate the
rape-as-fantasy myth, for example) and generally coming off as
a pleasant interviewee. The Edwards interview picks up from the
one he did for Babylon Pink but,
alas, the screener copy at my disposal included only one glitch
and it was during this interview, making it impossible to watch
the better part of it. The Smith interview is also interesting,
with the now-elderly DP seeming to regret his participation in
adult films and advising aspiring filmmakers to make "real" films,
not cheap erotica; his ambivalence to one side, he, too, comes
off as a likable, down to Earth sort.
2/27/06 |
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