Many people saw RAGING BULL and thought it was the best film of its era. Joe Sarno watched it and thought: I can make a dumb porno boxing video.
Result is RAGING HORMONES, a typical latter-day Sarno junker which is only nominally about boxing. He begins with his favorite plot hook: Shanna McCullough bumps into Stephanie Rage near a Brooklyn subway entrance -she hasn't seen her since high school.
Comparing notes, Shanna (as Holly Belew) is a novelist while Rage (as Mimsy Harper) is a boxing manager. Shanna gives Rage an extra key to her apartment, to be used for sexual liaisons; this is because as in other Sarno '80s videos all the sex scenes take place in the same cheaply dressed-up bedroom set, shot from the same camera setup.
Even cheaper is a measly set purporting to be a gym, consisting just of a heavy punching bag hanging there, as three porno actors pretend to train. Except for the usual transition footage of a heroine or two walking down a Brooklyn sidewalk, that's it. No actual boxing footage is presented -perhaps a wise decision by Joe, when one thinks of his Euro porn counterpart Joe D'Amato and his horrendous attempts at simulating boxing matches on screen.
Video is sloppier than usual: after a pointless conversation where Rage's character is identified as Meryl but she uses Mimsy for her pro boxing management guise, later on in the show pal Siobhan Hunter insists on repeatedly calling her Muriel.
Since 99% of the content is humping footage, the main difference here is casting a new (but not improved) set of male performers, and they're unimpressive -basically a set of dicks for the gals' usage. "David Flex" gets an "Introducing" credit; his non-career has one later credit, teaming up with Siobhan in a bisexual video.
Most stimulating performer is Krista Lane, whose pointy nipple cones get an oral workout from her male co-stars.
Motifs include the women all wearing high heels (and little else) during the sex scenes. Siobhan has merely a lesbian liaison with Rage, though she is billed above Krista who has a lot more screen time.
Film ends pointlessly with a money shot, none of the non-gripping pseudo-story elements resolved.
Result is RAGING HORMONES, a typical latter-day Sarno junker which is only nominally about boxing. He begins with his favorite plot hook: Shanna McCullough bumps into Stephanie Rage near a Brooklyn subway entrance -she hasn't seen her since high school.
Comparing notes, Shanna (as Holly Belew) is a novelist while Rage (as Mimsy Harper) is a boxing manager. Shanna gives Rage an extra key to her apartment, to be used for sexual liaisons; this is because as in other Sarno '80s videos all the sex scenes take place in the same cheaply dressed-up bedroom set, shot from the same camera setup.
Even cheaper is a measly set purporting to be a gym, consisting just of a heavy punching bag hanging there, as three porno actors pretend to train. Except for the usual transition footage of a heroine or two walking down a Brooklyn sidewalk, that's it. No actual boxing footage is presented -perhaps a wise decision by Joe, when one thinks of his Euro porn counterpart Joe D'Amato and his horrendous attempts at simulating boxing matches on screen.
Video is sloppier than usual: after a pointless conversation where Rage's character is identified as Meryl but she uses Mimsy for her pro boxing management guise, later on in the show pal Siobhan Hunter insists on repeatedly calling her Muriel.
Since 99% of the content is humping footage, the main difference here is casting a new (but not improved) set of male performers, and they're unimpressive -basically a set of dicks for the gals' usage. "David Flex" gets an "Introducing" credit; his non-career has one later credit, teaming up with Siobhan in a bisexual video.
Most stimulating performer is Krista Lane, whose pointy nipple cones get an oral workout from her male co-stars.
Motifs include the women all wearing high heels (and little else) during the sex scenes. Siobhan has merely a lesbian liaison with Rage, though she is billed above Krista who has a lot more screen time.
Film ends pointlessly with a money shot, none of the non-gripping pseudo-story elements resolved.