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tarisilmarwen · 10 months

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Rebels Rewatch: "Legends of the Lasat"

Kevin Kiner please take all my money forever.

Right, attempt two at this. Seriously Tumblr what is the point of having an auto-save feature for posts if it doesn't actually save a decent previous version of the post?

Also WHY THE HELL DID CNTRL+Z DELETE BASICALLY THE WHOLE DAMN POST?!

Anyway.

I'm glad we got to visit this moon space base location again, I think it's such an interesting design.

Another tightly-written opening dialogue exposition scene here, in a few short sentences we learn what they Spectres are here for and why, and that the mission is urgent.

Lol Ezra being evasive about Hondo being his contact. I do wonder how exactly Hondo got that transmitter to Ezra. Did they reconnect sometime offscreen? Did Ezra swipe it during "Brothers of the Broken Horn"? Did Hondo surreptitiously leave it in Ezra's pocket?

However it happened, it's adorable that this once-ruthless bloodthirsty greedy pirate basically decided, "I MUST BEFRIEND THE BABY JEDI, HE'S MY FRIEND NOW I CLAIM HIM."

The camerawork in this scene is phenomenal. This first shot that tracks the Spectres and then dollies just around the corner, as if we are also peeking around it with the characters? This fast almost 270 rotating pan across the Spectres as they make short work of the troopers? Stellar.

(You can also tell they had budget to spare for this episode because the Imperial officer has a face. Lol.)

Love it when they let Ezra be casually awesome.

Hera sounds so aggrieved that Hondo is Ezra's contact lol.

And here we get the reveal, Zeb was captain of the High Honor Guard of Lasan. A bit later in the episode we learn this consists of being a bodyguard protector of the royal family specifically and all citizens of Lasan in general. Sooooo yeah, quite a bit of heavy personal guilt for Zeb here, feeling like he, specifically, personally, failed his entire world. Ouch.

"Hondo could use a little help." <3

Zeb's expressions this scene are painful. :(

Hondo being so dang fond of Ezra aww.

Though not so fond that he doesn't immediately screw everyone over, greedy bastard.

I saw Zeb rolling his eyes there, animators.

So Zeb's interactions with Chava and Grond are very much a Spiritualist vs Skeptic plot, with the expected tragic personal reason for the skeptic's doubt and disbelief. It's also heavily implied that the loss of Lasan, that trauma, made Zeb regress in maturity, made him snippier and more petulant and churlish. As Ezra says later Zeb does act "like a child", so perhaps his being cast as the Child archetype in the Prophecy of the Three was not so off base lol.

Ezra has such cute smiles this episode. <3

LOL Hondo's chipper little "Hello!" at the Stormtroopers.

"Well. This must look... incriminating." This man is a delight in every scene.

I mentioned the camerawork right? This is another nice shot here, this pan down from the cockpit to the nose gun turret to meet Zeb.

Subtle animation appreciation moment: The smoke coming from the chimney top of the station.

...Is this Stormtrooper also voiced by David Oyelowo?

Ezra immediately noticing Zeb's scoffing like the empath he is. <3

Love love love seeing the unique cultural way that Lasat interact with the Force, the "Ashla" as they call it, mixed ritual and magitek, prophecies that revolve around certain narrative archetypes and symbolic figures. It's just so cool.

I haven't been talking much about the music yet (oh but believe me we will have much to say on that) but this cue here starts easing just slightly into the mysticism of the Lasat ritual. It's almost Stravinsky-esque in nature, carefully stepping flutes and clarinets, discordant strings. We incorporate just a very soft snippet of the Force theme.

Zeb auto-assuming Ezra is the child.

Lol Hondo putting his arm around that one Stormtrooper's shoulder.

He's so cute asjkhfkajsh. Look at him. He's all like, "Please Dad, can I chant with the weird purple people too?"

HE LOOKS SO FOND AND PROUD AWW.

The score takes a bit of an exotic turn, a mellow arabic flute and possibly a sitar adding to the texture of the melody.

The lighting in this scene egads.

I love this scene I love it so much. Ezra acting as counselor, with his mere presence and curiosity getting Zeb to open up about his past and fears and insecurities. There's so much hurt in Zeb's slumped posture, guilt and grief compete for space in his voice, and I don't think we see him this distraught again until after Kanan's death.

But with Ezra's encouragement, he pulls himself together.

Once again showing off the cool magitek with Chava's staff and Zeb's bo-rifle here and I just love the concept, I love the whole aesthetic of hearing whispers of destiny through the Ashla and then channeling the energy of the universe through arcane, almost magical technology to navigate the stars, like some kind of arcane mariners. And we all thought the bo-rifle was just some kind of standard ordinary weapon, SURPRISE, it's also an ancient Force-magic navicomputer.

And oh wow the parallels with the purrgil next episode and the Chiss sky-walkers in the Thrawn novels.

This is soooooo pretty. The animation here is gorgeous.

After the commercial cut we're in hyperspace and the Ghost is making an almost blind jump out into Wild Space. Hera doesn't seem terribly worried. (Behind the scenes material says she apparently does this all the time.) But the ship's safety protocols flip out when they sense the imploded star cluster and Hera quickly drops them into realspace and one of the most gorgeous moments of the series.

HNNNNNNGHGHHHHH.

This whole sequence is stunning. Some of the best animation of the show, accompanied by one of the best tracks in the score, the star cluster looking like a watercolor spectacle.

And the Stravinsky influenced instrumentation brings the strings front and center; a haunting choir whispers in the background.

Kanan putting one hand on the back of Hera's chair and the other on her shoulder, aww.

Just tell me you wouldn't want this as a wall painting. <3

Chava gives some inspiring words about not pidegonholing oneself into a single role in their prophecy and this motivates Zeb to find a well of inner courage and open himself up to the will of the Ashla.

What I wouldn't give for more on ancient Lasan tech, how their ships must have been designed to integrate with the bo-rifle staffs. It functions as pilot and navigator and also apparently encases the Ghost with a protective shield that keeps it from being crushed by the gravity.

Let that sink in a moment, the staff, when channeling the Force, can literally bend gravity around the ship.

AND AS "JOURNEY INTO THE STAR CLUSTER" WRAPS US IN A VIOLIN SOLO THAT EVOKES MYSTERY AND MYSTICISM KANAN AND EZRA SENSE THEIR HELP IS NEEDED AND CALMLY PLACE HANDS ON ZEB, LIKE THE LAYING OF HANDS DURING CORPORATE PRAYER, AND CHANNEL THE FORCE THROUGH THEM INTO ZEB, WHO LETS IT FLOW THROUGH HIM THROUGH THE RIFLE TO GIVE HIM THE CLARITY OF VISION TO SEE THE WAY THROUGH.

Subtle animation appreciation moment: The sparks that pop from a wall panel on the cruiser as Kallus attempts to have it follow the Ghost.

THE CHOIR COMES IN FULL BLAST.

AND ZEB CLOSES HIS EYES IN FAITH AS THE LIGHT TURNS BLINDING.

Whew! And what a rush! The absolute quiet in the score right afterwards gives us a moment to inhale and catch our breath.

Chopper of course chooses to be a pest, releasing the tension.

Lira San being the ancient lost homeworld of the Lasat fits right in with the whole arcane vibe of their culture, like they were connected to a place and people that time forgot.

And tada, we leave with a character arc complete, a new hyperspace route plotted and everything bathed in an aura of serenity.

This episode is one of the best of Season Two, if not the whole series. Everything comes together beautifully in the third act and the story has a feel of both spiritual transformation and wonder. I've already gushed about how interesting and unique the Lasat culture is, how it's presented as a mix of mysticism and technology, with prophecies and wise women, royal families and warriors, and navigators that explored the stars, guided by the Ashla.

Zeb gets more character growth in one episode than some characters get in a season, and he's largely "finished" after this, his issues with his past resolved. (Which isn't to say I wouldn't have loved more character focus on him, just that this is so phenomenal.) His heart-to-heart with Ezra is touching and illustrates just how close they've grown.

And did I mention this episode was pretty? This episode is super pretty and the music is straight fire.

10/10 no complaints. Would give Kiner my money again.

#star wars #star wars rebels #rebels rewatch #liveblog #i was exhausted all day and did not have the spoons to complete this one until later sorry #music #soundtracks #meta rambling

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tal-yadin · 2 years

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Ok as promised: an actual post about this rollercoaster of an episode!

Got long again (this is becoming a trend):

I'd like to preface this by saying that there was a lot of stupid shit that happened in this episode that i am fully aware was narratively required. Which doesn't mean i'm not going to complain about it (complaining about stupid shit is good for the soul i'll have you know), it just means that those complaints should be taken in the spirit that they were meant - i mean if you're not complaining about the stupid shit, are you really watching the show? :P

Now that that's out of the way, Onwards!

We pick up in this episode right where we left off - thank god - and while not it's not exactly a smart decision, porsche choosing to go with vegas is very in character for him. The fact is, vegas really hit the nail on its head, because porsche would have absolutely gone nuts having to sit in that cell and do nothing while shit was going down.

The next sequence is both one of my favorites in this ep and the one that's at the top of my stupid shit list.

Pete and porsche's fighting was so so good, like that was some grade A choreography and camerawork right there. I enjoyed the hell out of watching my best boys go tow to tow.

My main is issue is how exactly did vegas get out???! Kinn was RIGHT THERE!! did vegas run right past him?? Was ken waiting in the hallway with a convinient laundry basket for vegas to dive into?!?!? I just don't understand *sigh* at this point i'm about ready to accept that vegas is capable of straight up turning invisible. It's the only thing that makes sense.

Kinn and porsche facing off was a good tension moment. Porsche has made his choice and now kinn's gotta make his. Again, we later found out it wasn't a very smart choice (kinn could have just explained what was going on to porsche), but please refer back to the first paragraph because this definitely falls into the category of narratively required. It's also not entirely out of character, which helps a lot, kinn's braincells have a notoriously bad track record where porsche is concerned (put simply, my boy kinn is Whipped and i don't even blame him).

Smash cut to the absolute cutest pairing in this show! They are Cuddling on the Couch, this not a drill!! Hdbfjddnxb

Naturally, things goes to shit immediately, which is just par for the course. Kim kicking ass trying to save chay? Absolute gold. Strange men touching my BABY???! how fucking dare you?! 0/10 would not recommend! I can't believe we didn't even get to see porsche just absolutly whale on tawan for laying hands on chay, what a fucking letdown >:(

Meanwhile we have ken being the mole, i kinda figured as much from pretty early on cause he was important enough for us to know him but peripheral enough that he could have been getting up to all sorts of stuff off screen.

The warehouse scene was vegas' time to shine this episode and let it be known that they managed to actually throw me off with the way the plot went. Like i was thinking, vegas had a choice to make, reveal himself to keep tawan on his side or keep the game going for porsche's benefit. my boy chose neither, he was really like "i'm tired of being nice i just wanna go apeshit" and then HE DID. Give the man bonus points for the fucking performance, my poor little meow meow killed his villain reveal moment.

Now that flashback. That Flashback.

Let me tell you, vegas has never been so fucking chilling in all of his time on the screen as he was in that fucking flasback (No. Not even in his big torture scene, you'll see why, we'll get there). That motherfucker is so so good at playing sincere. He's such a fucking snake, i was quaking in my motherfucking boots ok?

There is one other thing that flashback did to me and that was hit me with bible's actual, physical size, like steel chair to the back. Look, i knew, in my brain, that bible is a little shorter than build (from interviews and stuff) but build has delicate features and often wears baggy clothes that make him look smaller, so it's easy to dismiss the difference as not big.

I also knew that bible is shorter than apo and less broad, because we have several shots in the show that show us as much, but here we run into the inescapable fact that apo is fucking built, like, my boy is a big dude. They try to disguise it a little in the show, with staging and camera angles, but the most helpful thing is the fact that mile (who he's on screen with the most) is about his size - slightly shorter but it's a very small difference - so bible being smaller is kind of a given.

And then there's na (tawan) who is about the same height as mile, and about as broad (again they resorted to clothing and staging tricks to make him look slimmer) but did you see the flasback??? He was Dwarfing bible.

When tawan was hugging vegas from behind?? Bible looked tiny.

Tinnie tiny bible.

What the FUCK? That realization killed me dead let me tell you. Ok now that i'm done freaking out over the size of these actors let's get back to the actual episode.

Kim coming to chay's rescue was so good, and that outfit? Mmmm top notch.

Big my baby no TAT i know the man was an incurable ass, but i liked him anyway. nodted my beloved was acting his little heart out in his final scene, and fuck if he didn't nail it.

Tawan losing his shit was well done, in general na really did an awesome job as a villian, like tawan was clearly having a blast and his infatuation with vegas was portrayed really well.

Interesting that this is the first time we've seen kinn smoking, in the aftermath of this clusterfuck of a day, which, you know, fair.

Kim my sweet emotionally constipated dumbass has dipped as soon as chay woke up - hope he gets better soon (he won't, he's in love and there's no getting away now).

Chay being angry at porsche is heart wrenching but reasonable (i'm not crying you're crying shut up).

And now to The Scene, that we have all been waiting for :D

Listen, build stole the fucking show in this scene in a major way. Like, i said earlier that vegas was at his most chilling in the flashback? it's because in this scene he's standing opposite pete, who was absolutely, balls to the wall terrifying ok?

Build just fucking killed it. the genuine amusement at vegas' temper about his plan failing, the eye contact, the screaming, like i'm sorry, but vegas paled in comparison.

Pete is now the freak king of this show and i would like to see someone try and take his throne.

(That entire scene was the definition of "mark me down as scared and horny". It did things to me ok? don't judge me)

Ken dying was unexpected, despite the bloodbath that this episode has been. Gun (pretty sure that's the spelling for his name?) was nice to see on screen, it's been a while. Perth did a really good job in that final scene as well.

I knew the head was coming as soon as they put the box on the table but props to tong for giving us an exteremely convincing reaction for tankhun, who might be getting more involved in the family business, but is still comperatively sheltered.

Also it's nice to know that vegas learned his snake tendencies from his dad.

Korn kinda disappointed me cause it would have been something to watch him shoot someone point blank in the head (the old lion has still got teeth), but i'm gonna go ahead and assume that they need gun to move the plot along.

The thing on the balcony was a nice back and forth, a little more realistic standpoint of the relationship than the honeymoon phase in episode 8, and we got the infamous bed scene *thunderous applause*

Kinn forgetting pete is also in the stupid shit category, but again, narratively required.

All in all i had lots of fun with this episode and i can't fucking wait for the next one.

#kinnporsche #kinnporsche ep 10

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watching-pictures-move · 3 years

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Put On Your Raincoats #15 | Rainbows in the Dark

To the extent that a porn director crossed over to the mainstream, Gregory Dark would be it. Certainly, there have been directors who did one or two porn features early in their careers, like Abel Ferrara, William Lustig and Wes Craven, but they're known almost entirely for their mainstream work. There are also porn directors who did maybe one mainstream movie, like Gerard Damiano, but their careers were relegated to porn for the most part. Dark is the rare director who was prolific on both sides, so to speak, starting with massive hardcore hits like New Wave Hookers, moving on to directing softcore, thrillers and softcore thrillers with some regularity and eventually becoming a popular music video director. My initial plan was to explore the full gamut of Dark's career. I wanted to get a sense of each phase of his work and to see what elements of his style translated across them. Essentially I wanted to understand Dark as an auteur. But then something miraculous happened. I got lazy. (Also I had a muted reaction to some of his movies and became more interested in another director in the meantime.) So I decided to limit my exploration to a few of his early movies and call it a day.

The first one I watched was New Wave Hookers, his best known hardcore title and considered a classic in the genre. What I expected going in and what worked for me can be deduced from the title. Dark's visual style very much brings to mind the "new wave" in the title: big hair, fog machines and neon lighting, all of which are first seen in the opening credits, in which the female talent almost ritualistically present themselves to the camera. There's some stylistic precedent in the work of Rinse Dream AKA Stephen Sayadian (the artist I got more interested in as I delved into Dark's work), but Sayadian's aesthetic feels culled from the art underground. (Dark reuses a few of Sayadian's actors in some of his films.) Dark's style feels more commercial, almost packaged for MTV. (Dark intended his film as a reaction to hardcore porn features of his era, although I'd argue that his choice of camera angles still feels in line with other films of the era.) This is a movie that looks good and, thanks to some choice music courtesy of the Plugz (whose song "Electrify Me" accompanies the opening credits) and the Sockets (who provide the theme song), sounds good too.

What I gelled to much less was the sense of humour. The movie opens with two buddies played by Jamie Gillis (wearing a tie over a t-shirt) and Dark regular Jack Baker shooting the shit and watching another Dark production. ("That fuckin' guy looks exactly like you. Is that you?") Baker starts expounding on his thoughts about pimping and "programming" women to fuck with music. Baker also notes, "a pimp calls a chick a bitch". They doze off, and when they wake up they find themselves inexplicably in an office. Baker is wearing a yellow tracksuit, Gillis is sporting an East Asian accent, and there's a guy on the floor substituting for their phone. (Gillis asks: "Why do we not have a regular telephone?" Baker explains: "He got the power, the second sight.") As the movie proceeds to make good on its premise, wherein women have sex after listening to new wave music, we're treated to a steady stream of racial taunting. Baker grouses about black music being ineffective for their purposes, dropping the N-bomb. Gillis continues with his accent. The two get into racially charged arguments. A middle eastern client is served in a tent and barks like a dog after he's finished. At one point, Gillis wants sushi and is served by Kristara Barrington while East Asian style music plays on the soundtrack. I recognize that a lot of humour from the era is extremely politically incorrect and has aged poorly, but there's something about Dark's use of racist and misogynist humour that feels especially confrontational. I admit I was a bit bothered by all of this.

Still, there are moments of humour that did work for me. One of the headsets that the characters use has dildos protruding from both earpieces (pointing outwards, of course), and the production design, while not always stylish, is at least endearing in its blatant cheapness. To their credit, Baker and Gillis have undeniable chemistry and do sell the material as well as they can. (I laughed when Gillis, when confronted by the vice squad, drops his accent and exclaims "I used to work in your fuckin' office, and now I'm rich, I'm satisfied, and I'm Chinese, you assholes." Am I a bad person? Probably.) And in terms of how it meets genre expectations, I do think Ginger Lynn and Kristara Barrington have a real magnetism in their scenes.

Given the racial content in New Wave Hookers, it probably won't surprise anybody that Dark was a pioneer in interracial pornography. I am not a sensitive enough writer to begin unpacking all the implications of the concept, but I did watch one of his movies in the subgenre, Black Throat. This was a shot-on-video effort and looks considerably cheaper and uglier than New Wave Hookers, but shares some other qualities. It opens and closes with a punk song that references that film as well as Let Me Tell Ya Bout White Chicks, Dark's first interracial feature, and to be honest, the song is pretty fucking catchy. The movie follows Roscoe, a man who wears yellow sunglasses and both a polo and a Hawaiian shirt and his friend Mr. Bob, a talking rubber rat. He's searching through the garbage while arguring with Mr. Bob over what to eat when he finds a business card. "Madame Mambo's House of Divine Inspiration Thru Fellatio!" (All of the characters pronounce fellatio differently. Mr. Bob says "fell-uh-tee-oh" and calls Roscoe a "fuckin' honky", to which he responds "Fuck you, Mr. Bob!")

Roscoe insists he has to find her. "If I don't find her, I'm gonna die!" (When asked why, he responds, "I dunno, it sounded kinda dramatic, I guess.") Mr. Bob enlists the help of a "young urban professional pimp" named Jamal, played by Jack Baker. (He prefers the term "flesh broker" and describes upgrading his diet, clothes and investments.) Roscoe, Mr. Bob and Jamal go from scene to scene, watching other characters having sex in different racial combinations, asking them where they can find Madame Mambo. (Sometimes they ask the characters directly, other times they talk to their private parts.) The best of these scenes, in my humble opinion, is a light domination flavoured sex scene featuring Christy Canyon. Perhaps because of the dynamic, there's an element of actual acting involved here, and because Canyon is, uh, pleasingly proportioned and has a certain magnetism, I found this scene more engaging than the others, at least until it turns into a regular sex scene.

Eventually they go back to Roscoe's place and find a voodoo ritual taking place where a black woman with multicoloured hair (think the George H.W. Bush rainbow wig from the Simpsons, but straight, not curly) is jumping on their bed while a bunch of white dudes in hats, capes and sunglasses jack off around her. This of course is Madame Mambo and at this point the movie makes good on the title while drumbeats and funk play on the soundtrack. Given the premise, this movie proved (thankfully) lighter on racial humour than I expected going in. There is an element of racial critique in Baker's character, and Madame Mambo is certainly exoticized, but the racial content otherwise is limited to the interracial couplings and doesn't overload the dialogue. However, this is a fairly ugly looking movie, shot on video, featuring unimpressive camerawork and lighting as well as extremely cheap looking production design (although the movie does mine this for laughs). I also found the sex scenes overlong and the music a bit repetitive. I imagine if you were jerking off to this back in the '80s it was easier to get through, but trying to watch it now as an actual movie, despite some decent humour throughout, proved a bit of a challenge.

The next one I watched was White Bunbusters, which despite the first half of the title is not particularly racially charged. The theme song here, crooned in the style of early '60s rock'n'roll, explains that the movie is about anal sex, as the second half of the title suggests. We begin with Tom Byron thrusting into his wife Shanna McCullough (while wearing his glasses) only to be disappointed by her refusal to take it in the butt. The next day at the office (decorated by construction paper all over the walls, drawers sketched in magic marker and a crude sign with their business' name "Acme Proctology"), he hears an ad for the "A-Busters", an enterprising duo who will convince your wife or partner to let you put it in their butt. We cut to the A-Busters office and see them in yellow shorts, lime green suspenders and orange baseball caps, fiddling with their hi-tech instruments (which include an "anal listening device"). Soon we see them go to work on Jack Baker's girlfriend, taking a cash payment after the fact.

Meanwhile, Byron's friend Greg Rome hears about his woes and offers to let him fuck his wife Keli Richards (Rome is named Bob and Richards is named Bobette). Of course Byron takes advantage of Rome's generous offer, but later gets annoyed when Rome insists it was a "one time deal". They're interrupted by Jennifer Noxt, who asks about a secretarial position for the law office next door. Rather than correcting her, which would be the right thing to do, they have sex with her, which is absolutely not the right thing to do. ("So do I get the job?" "We'll call you later, baby.") We go back to the A-Busters, who go to work on a pornstar warming up for her first anal scene (the movie is called Hershey Highway to Hell). Eventually, Byron decides to make use of their services, and in the climax, when he's having a nice dinner with his wife (complete with plastic cups and paper plates), they crash the party and get to work. After it's all over, Byron thanks the A-Busters and shakes one of their hands, only to promptly wipe it off on his suit.

This is as lo-fi as Black Throat, and features a lot of raunchy humour, but thankfully no real racial content outside of the title. Perhaps because the focus is on a specific set of acts (threesomes, anal sex, double penetration), the execution seems more consistently energetic. The ratio of the threesomes is a little off from what I prefer, but I was not unmoved by the scenes involving Keli Richards, Jennifer Noxt and Shanna McCullough. I realize there are more dignified ways to spend one's time than watching in its entirety and singing the praises of a movie called White Bunbusters, but sometimes the lizard brain takes over. I feel compelled to report the facts, and the facts are that this is good at what it does. As an actual movie, there isn't a whole lot to this, but were I to rate this on the Peter-Meter as the filmmakers intended, it would fare respectably.

Where Gregory Dark's style and the sum of his provocations really worked for me was in The Devil in Miss Jones 3: A New Beginning and The Devil in Miss Jones 4: The Final Outrage, a two-part odyssey through hell. (Attentive viewers may note that the original Devil in Miss Jones takes place before the heroine is sentenced to hell, but this is not a direct sequel. There is also a second part by Henri Pachard and later sequels directed by Dark that I did not see. The narrative in the third and fourth entries feels pretty self contained.) The movie begins with close-ups of our heroine, played by Lois Ayres, taking a shower while "A Christian Girl's Problems" by the Gleaming Spires plays over the soundtrack, her interiority hinted at with an astute song choice. (It's worth noting that this was not an original song made for the movie.) The structure intersperses her story with a series of interviews with those who knew her: an ex-boyfriend who "had a disagreement about the relationship" (he slept around); a woman speculates that Ayres was "a closet lesbian" and that "she probably went to live in one of those lesbian islands in the Caribbean"; a girl who knew her as a prude back in high school, a priest with a thick accent who offers a eulogy; her brother, who speaks in new age euphemisms and resents that she was the favourite growing up; and a blind ex-boyfriend who claims she was the loveliest person he knew "after Helen Keller". (This last character describes his sex life as very "normal": no peeing or dogs, wouldn't fuck pizzas, etc.) All these people knew her, but they didn't really know her.

The actual story follows her after she breaks up with her boyfriend (over the phone, as he shaves another woman's pubic hair while feigning innocence). She heads for a bar, brushing off a stereotypical black pimp played by Jack Baker who mistakes her for a prostitute, and promptly orders a "taco" (a draught beer, a Bloody Mary, and a draught beer in three separate glasses). Beside her is a man asleep on bar in tuxedo, who turns out to have been stood up at his own wedding. They hook up, leading to a sex scene scored by a blaring saxophone that I assume was practice for Dark's softcore work. The scene ends when the heroine knocks her head against the headboard and wakes up in a pitch black space near a grave. In comes Jack Baker, riding atop a woman, to tell her what the situation is. "You are dead, you got no clothes, and this is hell!"

The rest of the movie follows them going through different rooms, the heroine being unable to comprehend her fate, as they watch the different punishments endured by the denizens of hell. There's the room full of "peepers", virgins doomed to only watch sex for all eternity. (One of them explains: "I showed my tits to a guy to get a Gucci purse. He went off an overpass.") There are characters doomed to fuck until their genitals wear out or are ravaged by venereal disease. Baker gives Ayres a raincoat "to keep the come off", but the moment she forgets about it she finds herself getting gangbanged and promptly has to be rescued by Baker (okay, not that promptly, we get to enjoy this for a few minutes). Along the way we're led to believe from the interviews that the heroine might have a fetish for black men, and the conversation between Ayres and Baker grows increasingly heated and racially charged. This idea culminates in a trip to the "racist room", where a white man with a swastika armband is having a threesome with two women of colour while a white woman is sucking off two black men in tribal makeup. Ayres and Baker have a final confrontation on the subject.

"What about all the black racists?"

"Look bitch, when a black man hits a white man, we don't call it racist!"

"What do you call it then?"

"Smart!"

"That's ridiculous, there are plenty of black racists!"

"No dig, you stupid ass white bitch!"

"Look, you're even one of them, calling me a stupid bitch and a white bitch!"

"We'll you're stupid, you're white and a bitch, so what is your motherfucking problem?"

"You're crazy, negro, and you're one of the sickest people in here!"

"That's right, I'm a crazy negro! I'm so crazy I'll eat my own arm!"

This is a deeply uncomfortable scene, and what follows is even more disturbing, as we learn the true nature of the heroine's relationship with her father, a reveal that Dark plays for maximum shock value in depicting "The Ordeal of the Taboo Breakers".

In some ways this isn't all that different from New Wave Hookers, but Dark's direction seems more purposeful here. The stylized depiction of hell, with its black backgrounds and harsh neon lighting, imbue a real sense of menace into the proceedings. With the exception of two scenes, the sex isn't all that outrageous, but Dark's mise-en-scene has a way of rendering it almost as horror. It's not exactly scary and probably still "does the trick" if you're watching this for those reasons, but there's an undeniable charge here. Likewise, the dark humour and the racial content seem to work in tandem here, and Ayres and Baker really sell their adversarial chemistry. (It's worth noting that even by the standards of the video vixens that appear in Dark's movies, Ayres has an amazing hairdo.) Dark may not have entirely thought out his thesis along these lines, but the movie is provocative in its handling of this content, and unlike New Wave Hookers, not in a way that hurts it. At a combined 2+ hours, this probably runs a bit too long, but it does shape the usual procession of sex scenes into a structure that carries an uneasy momentum that matches the heroine's trepidation. We might not like what we're seeing, but we also can't help but keep looking.

#film #put on your raincoats #movie review #gregory dark #new wave hookers #black throat #white bunbusters #the devil in miss jones 3: a new beginning #the devil in miss jones 4: the final outrage

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