A divorcée, whose house is being fumigated, temporarily moves in with a friend, whose husband has recently passed away. Meanwhile two of the workmen make a bet that they can bed the women and the games are on. Mixed into the mess of filthy rich individuals are the divorcée's ex, her script-writer brother, his new African-American wife, the friend's precocious daughter, and the ghost of her husband. The film offers a satire on the social, racial, and hedonistic lifestyles of the rich and famous. Written by
John Sacksteder <firstname.lastname@example.org>
Juan says he wants to "make the crossover" like Rubén Blades. This is a reference to Blades's movie, Crossover Dreams (1985), in which a smalltime Latin musician makes the crossover into major fame (and back again). See more »
[to Howard who's looking for suppositories int he fridge]
Why dontcha try butterin' some nice corn-on-the-cob and stickin' that up y'ass?
See more »
After the introductory credits the following can be found: 'for L.B. who might have smiled' See more »
This film showcases so much talent from actors and performers that have now passed into Hollywood Valhalla: Paul Bartel, Ray Sharkey, and tragically, Rebecca Schaeffer who died at the tender age of 21, and would probably have blossomed into a graceful and beautiful actor. The cast is unlikely, however they work well together and seem to have fun doing it. There is harmony and refinement as they interact, making it seem as a dance. The make-out scene with Jacqueline Bisset, Ray Sharkey and a chocolate cake is passionate and sexy. Wallace Shawn is smug and manipulative as a troubled gynecologist. Arnetia Walker is a show stealer as the former porn star wife of a self-deluded playwright played by Ed Begley Jr.. Edith Diaz plays Rosa, the Aztec-descended maid who spouts the meaning of life with a cultural twist and, according to Beltran's character, has a dustpan loose. Then there is Darren the West Highland White starring as Bo-Jangles, the terrier with an affinity for black women. The scenes are well edited, and not the least bit clunky or contrived. I don't think this is Paul Bartel's best film, but certainly it has its moments. A must see for anyone interested in off-color sexy films. Paul Bartel's works are certainly not voluminous, but he gets an A+ for effort on this one. Paul, I read recently, was a little disappointed with the film. It didn't live up to his expectations, and the gay relationship between Beltran and Sharkey, which Paul had said he wanted to bring out more, is minimally, but expertly alluded. It is an amicable film, unpretentious despite its subject matter, and almost innocent in its portrayal of an elitist LA establishment. I will never turn down a screening.
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