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7 out of 8 people found the following review useful:

Hindsight is a Beautiful Thing

Author: Dries Vermeulen (Nodriesrespect) from Brugge, Belgium
1 June 2003

Gerard Damiano, creator of the original DEEP THROAT in 1972, adds his own sequel of sorts with this surprisingly thoughtful and frequently witty tale of two acquainted married couples and their various erotic (mis-)adventures.

George Payne is married to pretty Michelle Maren (whose only other adult role of note seems to have been in the silly but enjoyable FLASHPANTS) but picks up tart with a heart Sharon Mitchell for the film's opening scene. After a realistic encounter (he's all nervous, she's both patient and playful), the girl remembers her first sexual experience with a high school jock in a haunting flashback sequence. Meanwhile, wifey (who has never been with another man but her husband) recounts her woes to repair man Eric Edwards who gives her advice on how to spice up her bedroom antics. The other couple, seasoned veterans Sharon Kane and Joey Silvera, are heavily into swinging. While she's more of a one to one gal who likes to bring street hustlers into their fancy apartment, he prefers to take his ditzy blonde secretary (all time fan favorite Joanna Storm) to raunchy sex clubs for no holds barred orgies. Damiano plays this particular sequence largely for laughs with people (a veritable who's who of New York performers at the time) on a huge revolving stage set doing all sorts of unmentionable yet highly pleasurable things to one another.

Kane's match-up with inexperienced streetwalker Jerry Butler (always a fine actor) hits a more recognizable note with the older woman instructing him how to please her as she flashes back on a previous encounter with one of her husband's fly by night mistresses (the exquisite Laurie Smith). For a (non-sex) capper both couples get together for cocktails and a video viewing of the original THROAT, commenting on the action and toasting to sexual experience.

With the help of fine cinematography and a uniformly excellent cast (the two Sharons being particular standouts), Damiano came up with one of his last truly great films. It somehow seems befitting that this should also be his own personal continuation of the movie that first put him on the map, kind of like a charting of sexual morals and their development in the 12 intervening years. All of the sex is really special, much of it emotionally charged, once again showing how the industry has sadly homogenized since.

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