Elliot is going to the island of Eden to live out his submissive fantasies, but inadvertently photographs diamond smugglers at work. Smugglers, and detectives, follow him to the island, ... See full summary »
Set in nineteenth-century New Orleans, the story depicts the gens de couleur libre, or the Free People of Colour, a dazzling yet damned class caught between the world of white privilege and black oppression.
The life of a priest seconded to a New Orleans police department begins to fall apart when he is wrongly implicated in the shooting of a suspect. However, it comes to light that the ... See full summary »
Elliot is going to the island of Eden to live out his submissive fantasies, but inadvertently photographs diamond smugglers at work. Smugglers, and detectives, follow him to the island, where they try to retrieve the film. Elliot begins falling in love with Lisa, the head mistress of the island, and Lisa must evaluate her feelings about Elliot and her own motivations. Written by
Ed Sutton <firstname.lastname@example.org>
The morning after Lisa spends the night with Elliot, she is sitting on her balcony drinking tea. She puts down the tea cup, then a moment later it jumps back into her hand. See more »
All-tied-up shop clerk:
You know a lot of people feel a little nervous about this whole submissive/dominant thing at first, but, you know, really the submissive person is always in control. All you have to do is give your partner a little control word, like "yellow."
Yellow... Y'ello! Fred!
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Hector Elizondo's title credit is prefixed by 'As Usual', referring to the number of times Elizondo has appeared in films directed by Garry MarshallSee more »
'Wacky' Comedy/Bondage Romance Mix Fails At Both...
One thing can be said about veteran director Garry Marshall; he'll go nearly ANYWHERE for love and laughs.
EXIT TO EDEN may be about as unlikely a mainstream comedy/romance as you'll find, with most of the action occurring at a 'Club Med'-type resort catering to S&M devotees, but someone, somewhere, might have been able to pull it off...but not, unfortunately, the ever-conventional Marshall, who, try as he might, can't make either the comedy (as two cops attempt to infiltrate the club to capture a fugitive 'hiding out' among the 'mistresses' and 'slaves') or the love story (as a somewhat jaded 'mistress' discovers the joys of conventional romance with a mysterious newcomer) more than mildly entertaining.
The main problem is miscasting; while a Dan Aykroyd/Rosie O'Donnell team-up might have looked good on paper, on film the two actors have virtually no chemistry together. Aykroyd is better as a 'straight man' than comic, and, as age has given him a 'cuddly' quality (along with extra pounds), the edginess he displayed in THE BLUES BROTHERS or even DRAGNET is gone. O'Donnell, on the other hand, is TOO edgy, and can become annoying quite easily. Her one-liners seem contrived and often mean-spirited...and Rosie in leather is a sight I've been trying to forget for 10 years! Dana Delany fares somewhat better, as the Number 1 Dominatrix (her voluptuous curves, encased in leather, and brief nude scenes have made EXIT TO EDEN a video store favorite), but her personality, fundamentally sweet-natured (more 'Girl Next Door' than 'Supervixen') plays against her. She is simply too 'nice' for her role! Coming off best is Australian newcomer Paul Mercurio, in his first American film. With a twinkle in his eye, he 'plays' the S&M 'game' as a joke, championing traditional romance, and, ultimately, converts Delany to his point of view. Totally natural, Mercurio 'steals' the film from the veteran cast. He, and Marshall 'regular' Hector Elizondo are both so good, in fact, that they seem to have been 'lifted' from a different film!
EXIT TO EDEN stumbles frequently, in it's attempt to be both mainstream AND daring, and ends up being boring and a bit distasteful.
PRETTY WOMAN, it ain't!
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