Sunday

Affinity

2008

Affinity is from the same general family of pictures as Tipping the Velvet, the British project about lesbians hiding their love from the scorn of Victorian England. Unlike Tipping the Velvet, this one has virtually no exploitation elements, and takes itself quite seriously all the time. There's no singing or dancing or naughty verbal banter. It's basically just two women moving toward an affair.

One of the women is a con artist, a spiritualist who has been imprisoned for having caused a fatality in one of her sťances. She claims that she is innocent and that the death was caused by a powerful spirit whom she was channeling. The other woman is a young upper crust lady who visits prisoners as her form of charitable social activism. The rich lady's sexuality has been completely closeted since her one and only girlfriend repented of her Sapphic adventures. Her sense of loss is made especially poignant by the fact that her own brother married her former lover. The brother is, of course, ignorant of the women's youthful hanky-panky. Since the rich woman is prohibited from expressing her inclinations and is, in fact, being pursued by a male suitor, she is desperately lonely and frustrated, and is therefore highly vulnerable to the female con artist, who senses her problem and exploits her. The major problem for the con artist is not seducing the lonely heiress, but rather convincing her that she is a "real" spiritualist and that she was railroaded into jail by a rogue spirit and an unheeding legal system.

I didn't find the film very satisfying. It is not really deep enough to be a drama of social consciousness, especially since the script calls for the rich woman to be completely taken in by the prisoner's spiritualism alibi. I found that hard to swallow, given that she was the daughter of a renowned scholar. OK, lady, I know you're horny and infatuated, but do you really believe she has supernatural powers? Really?

On the other hand, Affinity is not lurid enough to be an exploitation film. It has some characteristics of a WIP film, but it's not one. There is the requisite prison shower scene, but it lasts only a few seconds and the real nudity is provided by uncredited extras, many of them in poor physical condition. Elsewhere in the film, there is no nudity and very little kissing from the central lesbian couple. In essence, this film is a straightforward Hollywood thriller, except that it's located in Victorian England. Imagine one of those sleazy films where you are led to view every situation in a certain light until the very end, when the director shows you five minutes of footage which took place behind the scenes of what you had previously seen. Well, this is one of those standard "all is not what it appears" kind of films, except that it is about 19th century lesbians. It's Tipping the Velvet meets Wild Things, except without the sex and nudity.

Does that sound good to you? I just can't imagine who would be in the target audience. Having noted that, I'll add that the overall premise could have made for a great exploitation film. Re-do this film with plenty of girl-on-girl action, and it would be steamy, gothic fun. It could have been really entertaining as Tipping the Velvet meets Wild Things WITH the sex and nudity. Too bad it didn't go there.

Here is the nudity from miscellaneous extras. It's not that pleasant. One of the stars, Zoe Tapper, a beautiful woman in her twenties, is in one of those scenes, but she keeps her hands over her breasts. Maybe you can glimpse a bit of areola, or maybe you're looking at pasties. You can study the matter on your own in the capture shown below.

(Zoe previously did some rear nudity in Stage Beauty, but it was not so impressive. Since then she has lost her baby fat and seems to have worked out a bit.)

 

 

  • * Yellow asterisk: funny (maybe).

  • * White asterisk: expanded format.

  • * Blue asterisk: not mine.

  • No asterisk: it probably sucks.

OTHER CRAP:

Catch the deluxe version of Other Crap in real time, with all the bells and whistles, here.

 

 

 

 

 

 

 

 

Interview with the Vampire

1994

Yes, it has really been 14 years since this came out. Yikes! It was one of the hottest topics when this site began, and it just so happens that today is our 13th anniversary! (Well, to tell the truth, I'm not sure of the exact date. I just know it was in November of 1995.)

And now vampires are the hot romantic ticket again. Ah, the great Mandala! Not to mention his pal, Bishop Tutu.

Missy Yager film clip. Collages below.

 

 

 

 

 

 

This section will present Defoe's film clips to accompany Charlie's collages, which are found on his own site.

Today's clips are again brought to you by the letter N:

Nadia Nguyen in Rhapsodie en Jaune

Naidra Ayadi in La Depanneuse

Nitsa Benchetrit in Amina

Noemie Kocher in La Sauvageonne

 

 

 

 

 

 

 

 

 

 

 

 

Anthony's Desire

(1993)

 

Went to the zoo a while back. Visited the hippo exhibit. One of those giant beasts was wading around in his pool when he let loose with the kind of defecatory event possible only when a half-ton animal eats fifty pounds of hay and vegetables every day of its life. A brown jet expanding in clear blue water. Ugliest damn thing I ever saw.

Until I watched Anthony's Desire.

Anthony's Desire is one weird-ass, bad mofo-ing movie.  Or maybe it is one bad-ass, weird mofo-ing movie.  No matter.  It is weird, it is bad and it is mofo-ing.  Here's what I can tell you about it.

Some surly dude - that would be Anthony - washes up at a seaside hotel/nightclub where no one does a lick of work except the gals doing the entertaining on stage. Al least I think he washed up there, although that is never made plain. The entertainers belong to a "dance" troupe, although the gals don't really dance. They just more or less lie around in a heap on stage while four or five people at tables watch them.

So the guy shows up, boffs one gal played by Mihaella Stoicov two minutes after he spots her, boffs another gal after a lengthy angst-ridden romance that reminded me of adolescence at its worst, and he boffs a third gal (I think) on stage.  Why on stage?  Because that is her performing skill -  she's one of the six nekkid gals who just sorta loll about or play string instruments or boff mysterious, brooding strangers.  All of this is occurs as a documentary crew works in the background ... a crew whose director wrote, produced, edited, directed, catered, gaffed and best-boyed the very movie we be watching.  That guy, by the name of Tom Boka, sported the worst mullet in the history of haircuts.  Made the singer of Ache-ee Break-ee Heart appear suave and sophisticated by comparison.  Anyway, Tom meant for us to view Passion and Desire and Want and Need in a whole new light when he was done making this masterpiece; he wanted to create a story of loneliness and conflict and brooding flavored with arty prose and fine music. And he did such a terrific job of it all he was asked never to write or direct or produce or edit or appear in another movie ever again.   So resounding was his success with Anthony's Desire that he was probably also asked never even to watch another movie or buy a movie ticket or sign up for Netflix.

The major task of doing all the lonely, conflicted brooding fell on the shoulders of one Doug Demarco, who played the role of Anthony. And brood he did. Intensely, obsessively, with all the range of A to B in his performance. One of three movies ol' Dougie was in during his long Hollywood career. Ah, the virtue of raw talent.

So Tom and Doug made a real mess of this movie, dragged it down to the fetid hippo pool of movie history. Fully half the movie involves long, lingering shots of Doug's brooding face or monologues meant to be so terribly serious they sink with the kind of gravity never seen outside of collapsed stars.

The only way to make this one worthy of a return visit would be cast Nikki Cox, Heather Graham, Eva Green and Ludivine Sagnier as the naked dancers and then put me in the middle of the group grope. All four of them. Three and the deal is off.

Ashlie Rhey film clip. Sample below.

 

 

 

 

 

 

 

Pics

Kerry Fox in Intimacy

Kelly MacDonald in Trainspotting

Tilda Swinton and Amy Madigan in Female Perversions

Marcia Cross in Female Perversions

Jenna Elfman on the set of a movie (no nudity)

Anna Friel. Great quality. Nice see-through.

 

Film Clips

Leslie Leah in Time of Fear (samples right)

Cheryl Pollak in Time of Fear (samples right)

Marija Skaricic in A Wonderful Night in Split (samples below)

 

Nives Ivankovic in A Wonderful Night in Split (samples below)

 

Julia Dahmen in Alle Meine Tochter

Lynda Weismeier in Evil Town