#ned morehead

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Put On Your Raincoats #20 | Squalid Motels and Desperate Gals, courtesy of Kim Christy

This review contains mild spoilers.

When I first heard of Kim Christy, I knew I had to delve into her work. Here is someone who was involved in the drag scene in the '60s and went on to direct and produce pornography from the '80s onward. She's also a trans woman director (and occasional actress), which is not just unusual in golden age pornography but even mainstream cinema today. Unfortunately, figuring out where to start was a challenge. There's a very good interview with her on the Advocate but which doesn't really delve into her directing work. So I did the highly risky and ill-advised move of scanning through the titles in her filmography and trying to pick out ones with interesting sounding premises. Even this was a challenge, as a lot of her movies sounded like they didn't have a terrible amount of story. (A good many of them also had certain slurs in the title, which are unfortunately common in trans pornography.) So out of the crapshoot of movies I picked, I can't say I really got to the bottom of what makes her work interesting or even gelled to most of them, but hopefully I can convey what makes the ones I did take to interesting.

To start with the most slight, the two Divine Atrocities movies are basically a collection of sex scenes. There's a theme of dominant women running through them, but otherwise there isn't much tying together in terms of staging, aesthetics and the like. The segments have titles like "The Leather Lass Tamer", "Rubber Rampage" and "Ms. Degradation", but truth be told, nothing here is terribly shocking. So there isn't a lot to either of these movies, but if you're watching it for those reasons, they're enjoyable enough. A few of the segments feature trans performers, and I did find that Sulka had a nicely imposing screen presence in her scene, and while Sugar Nicole briefly threatens her partner with her "big black cock", I did like that for the most part the movies don't discern between these scenes and the ones with cisgender performers. In the eyes of Kim Christy, there's room for everyone in this great sexual melange. Also notable is the threesome scene with Janey Robbins, who (after likely reading Dan Savage's column) tells one of her partners, "If you don't find a different way to fuck me, you can forget it, I'll have to find somebody else", and in the first time in the history of civilization, gets mad at her male partner for not climaxing quickly enough. "You always say it'll only take a few minutes. Time is the only thing I can't replace, and it always takes too long."

A bit more substantive narratively but less interesting is Momma's Boy, with a premise that you can guess based on the title. Tantala Ray presides over a brothel set during an indeterminate period, where she presides over her girls and also her son, who mysteriously became a deaf-mute at a certain point of time. Why did her son become a deaf-mute? Will we ever find out? Spoiler: it's incest. Tantala Ray does have a weird enough screen presence to make her parts watchable, but this has none of the charge that, say, Taboo brings to the same material. (It's worth noting that Ray in this movie, looking like a debauched queen of Mardi Gras in one scene, is a camp villain while Kay Parker plays her role straight in the other movie.) As it's shot on video, the movie is not very nice to look at, and the dirt cheap production values make it unclear whether this is supposed to be a period piece. Some of the dialogue is amusing ("Oxford?" "Guess again." "Princeton?" "Try Biloxi Tech, my sweetie."), and there is some old timey music and one of the clients wears an ascot at one point, so it's not a totally squalid affair. (It's classy, see? He's wearing an ascot.) As the son, Jerry Butler does a cringe-inducing lisp, but I did chuckle at his last line.

A bit easier to recommend is True Crimes of Passion, where Janey Robbins plays a private detective (cheekily named B.J. Fondel) who invariably bungles her investigations and winds up in sex scenes with the people she's supposed to be investigating. "Out of the fog and into the smog" begins the overwrought voiceover, which truth be told doesn't compare to the likes of Chandler but I guess the effort is nice. The first case involves her investigating the wife of a minister whom her client suspects of infidelity. Surprise, surprise, it turns out the wife has a girlfriend with whom she has dominant sex. Thanks to Robbins' investigative prowess, she gets found out and forced to join the proceedings and ends up getting her client, a Dan Quayle looking motherfucker in a cowboy hat, captured as well, which leads to an incredible burn.

"The lord will punish you for this."

"The lord already has, he gave me you for a husband."

Also, when Robbins is forced into cunnilingus, she says over narration, "Oh Christ, I'm not even sure I've seen one of these things up close", and yeah, okay, Janey.

The second scene is probably the most notable as it features Christy as a performer. Robbins visits her friend to investigate a death threat against her friend's brother (also Robbins' ex), and the twist can be deduced when you start wondering why a seemingly minor character gets an unusually large amount of screentime. The scene features a trope that likely isn't terribly sensitive by modern standards, but I get the sense from that Advocate interview that Christy isn't too hung up about such things and one must concede that the film is a product of its time and genre (and within that context, there's a lot worse out there). The last scene has Robbins spying on her neighbour in hotel to get some industry secrets, which leads to some really awkward dialogue about champagne and then a threesome involving her client and mark. Like the work of Yasojiru Ozu, this scene breaks the 180-rule, but I guess if this is your thing, you might enjoy it. At the very end, the mark just gives up his secrets to the client. The secrets of male bonding sometimes elude me.

Easily the most accomplished and enjoyable film from Christy that I watched was Squalor Motel. It combines the sexual variety of the other films with a sense of camp and grounds it in a distinct, memorable location. There isn't much more "plot" than the other movies, as it's basically about a motel concierge doing her job over the course of a day, but as it follows her bumping into a variety of (usually horny) guests and finding herself in amusing (and unfailingly sexual) situations, there's enough of a narrative through line that it feels like a "real" movie where the other movies strained for similar effect, and the movie uses a soundtrack of icy synths and jazz that sounds like imitation Angelo Badalamenti to give it all an alluring vibe. I'm gonna make a wager that David Lynch would have liked this movie. Look, I have no idea what his viewing habits are or what sends his motor running, and the thought of him jacking it furiously to this or any movie is not something that brings me pleasure. But this shares some of the campy tone and surface qualities of his works, and I also wanted to leave you all with that image.

Why does the motel have its own house band (to whom people try to listen to while they engage in all kinds of sexual congress)? Why is Jamie Gillis made up like a vampire and trying to sell marital aids? Why does the one guest's blow-up doll turn into a real person (and prove, uh, extremely vocal during their scene)? Why is the owner wearing a pig mask and a tutu while he spies on his guests? Why is everyone laughing at the newlywed? Why is the one scientist with a Hitler mustache and his shrill-voiced assistant conducting experiments (read: having a threesome) with Tantala Ray? And how are most of these things taking place in the mysterious Reptile Room in the middle of the motel? With an extremely winning Colleen Brennan in the lead role (sporting a pair of thick glasses, a Lucille Ball updo, and a big, toothy smile), we'll have a pretty good time finding out. Like a lot of hardcore movies, this is pretty episodic in structure, but its distinct atmosphere gives it a nice sense of momentum as it drifts from scene to scene.

With its nice production design (and the fact that it seems to have actual sets, rather than being shot in what I assume are people's homes like in the other movies), Squalor Motel feels a bit more upscale and lavish than the average porno. While I don't have any budgetary information handy, I do know that the production had an assistant director, Ned Morehead. To what extent he contributed to the movie's DNA I can't say for certain, but the directorial effort of his I watched, also produced by Christy, had many of the same qualities. Desperate Women starts off feeling pretty stylish with its spraypaint style opening credits (although it loses a bit of style when it misspells star Taija Rae's name as "Taja Rea"). Taija Rae plays a reporter who ends up wrongfully convicted for a murder and thrown in brutal women's prison presided over by the sadistic Tantala Ray, who seems to get her jollies from spying on her prisoners as they get it on or abusing them with the help of her dimwitted guard. During such incidents, the guard frequently ends up ejaculating on her uniform as a source of comic relief. (One such scene ends with a shot of a photo of Ronald Reagan.) I must however disclose, without revealing too much about the shameful inner workings of my hopelessly degenerate mind, that the denouement of scene involving Ray, her guard and Sharon Mitchell did not leave me unmoved. Mitchell plays a prisoner who befriends Taija Rae, and it's worth noting that despite being one of the best actresses in classic porn, she's saddled here with an atrocious Hispanic accent and at one point sings a bit of "America" from West Side Story.

By porn standards, this is actually quite well produced and has a relatively sturdy narrative. (I must however note that one scene has a blatant ejaculation-related continuity error.) Women in prison movies tend to be pretty squalid affairs in general, at least in terms of production values, so this doesn't feel too far off from the real thing and offers more explicit versions of the same pleasures, while its sense of humour gives it a nice campy quality. Tantala Ray especially delivers in a pleasingly over the top performance as the teeth-gnashing villain (the camera often frames her severe face in wide angle close ups), and say what you will about Sharon Mitchell's accent, I did like seeing her pop up in here. With all the flamboyance and excitement around her, Taija Rae almost becomes a supporting character in her own movie, although I must confess that I found her character's hopeless naivety pretty cute. ("I didn't wear rubbers, it's sunny out".) With a fun cast, a firm handle on the genre's pleasures and a groovy soundtrack, this is a pretty good time.

#film #movie review #put on your raincoats #divine atrocities #divine atrocities 2 #momma's boy #true crimes of passion #squalor motel #desperate women #kim christy #ned morehead