|Index||6 reviews in total|
French-Canadian man (Patrick) does his best to secure his young family
the freedom and future they crave aboard the boat he's lovingly
restoring, on an income derived from his work as an adult film-maker.
But the pressures of the business and political crackdowns take their
toll forcing his wife (Caron) to leave their rented pad while Patrick
frantically attempts to get his last few movies in the can to finance
their dream and rid the family of their ignominious past.
Patrick stars and directs this low-key drama in which his central character goes from porn-artist to money-hungry assembly line producer, turning would-be starlets into harlots to feed his freedom frenzy. Caron as his pot-smoking former actress wife protests a lot, but never seems to have the conviction to make a lasting stand against his chosen "profession", manacled by the material trappings and constant promise of a better life aboard the grand ship freedom, where they plan to sail the seven seas, trading coconuts and trinkets, smoking dope, drinking wine and living the dream. Jeff Gall is suitably sleazy as Patrick's partner and enthusiastic co-producer, while Gary Kent is a familiar face and voice in a small role as a vice detective.
Some humour (the quirky auditions should make you chuckle), lots of bare flesh and simulated sex (as you'd expect) and a manuscript full of dumb dialogue ("you can't come to work when you've got your period") the film never really hits the high notes, remaining low-key and melodramatic, like a balloon fizzling to its limp conclusion, which is especially disappointing, leaving little resolved. Looks a little experimental and obviously dabbles in a taboo subject particularly in its era and political context, might be worth a look if you can appreciate B-grade trash cinema.
*** This review may contain spoilers ***
Jim and Lisa's marriage goes on the rocks as Jim's involvement in the
adult film industry with its available women, questionable financing
and the government disdain, take a heavy toll on the couple.
Filmed so that part of the film looks like a government surveillance film this is an odd duck film. Coming out at about the time that Deep Throat was smashing barriers and the sexual revolution being in full swing this is a film that kind of wants to have it both ways. It very much wants to show the people who make adult films as people (it was made by people with connections to the industry) but at the same time it wants to be an exploitation film by taking the point of those seeking to ban the films. Its like a slightly more honest version of the old road show films that promised to warn you of the dangers of certain vices by wallowing in them for 90 minutes. In a weird way the film almost works, but in the end the film kind of collapses in on itself partly because the film has been lost in time, society has moved on and the film now seems the wrong sort of quaint. Mostly the film doesn't work because the performances are all over the place so the film never gets into any sort of groove. Often one scene will fall apart because of one poor performance.
I can't really recommend the film since it didn't really work. But for those who are interested in the history of society's attitude toward sex and adult films this is an interesting curio.
*** This review may contain spoilers ***
Handsome and successful, yet arrogant young Jim (nicely played to the cocky hilt by Alain Patrick) appears to have it all together: he's married to the beautiful and supportive Lisa (a winningly warm portrayal by luscious brunette Barbara Mills), has a healthy baby, and works a cool gig as the director of hardcore porno fare. Jim's seemingly perfect life starts to fall apart when he has an extramarital fling with yummy blonde Ingrid (the delectable Inga Maria) and the local Los Angeles vice cops close in to make a bust. Director Patrick and screenwriter Nick Boretz offer a fascinatingly stark, gritty and seamy behind-the-scenes peek at the funky early 70's smut cinema trade. Although this movie delivers a fair amount of nudity and soft-core sex, it's surprisingly not that trashy or exploitative. In fact, Patrick and Beretz handle the sordid subject matter in an admirably casual, nonjudgmental and matter-of-fact way. Patrick and Mills give engagingly natural performances in the lead roles; they receive sound support from Jeff Gall as shrewd sleazeball producer Mike, Oliver Aubrey as smarmy investor Fatman, Steve Roberson as nervous theater owner Freddie, and Gary Kent as a browbeating vice cop. 70's skinflick starlets Sandy Dempsey, Maria Arnold, Eve Orlon, and Suzanne Fields pop up as various actresses who do what they do in Jim's dirty pictures. R. Michael Stringer's crisp cinematography does the trick. The neatly varied score alternates between melodic acoustic folk and groovy prog-rock. Executive produced by noted adult filmmaker Bob Chinn (he made the famous Johnny Wadd features starring the legendary John Holmes), this offbeat and intriguing unsung sleeper overall sizes up as a more accurate and authentic small scale version of "Boogie Nights."
I have to confess that I haven't seen that many true pornographic films, because what I've seen has left me both bored and depressed. However, I have enjoyed a number of movies that have dealt with the pornographic industry, from "Boogie Nights" to "Orgazmo". "Blue Money" could have been another interesting look at the industry, since it deals with the porn film industry when it was starting to become mainstream yet still falling afoul of the law. However, it is a crushing bore. There's very little story, and it's stretched out way past the breaking point. The characters aren't very interesting as well. If you are thinking of watching the movie anyway to see sex or nudity, let me warn you that there isn't a terrible amount of this material, and the little there is isn't presented in an erotic light. I have no idea why Crown-International picked this up for distribution, because it's unlike their usual product, which usually made an effort to deliver the goods. I guess there is some curio value, but not enough to make it worth searching for.
Blue Money was made during the golden age of porn in the 70's when
feature length hardcore films were made with story lines and some
production values to them. This was the era when these kinds of films
were made on film and shown by necessity in cinemas. It all seems so
very odd nowadays but seemingly that was the way it was back then. Blue
Money is one of the exploitation films that tapped into this territory
and set a drama around the sex industry. It's about a man who tries to
secure the future of his family by making adult movies. Meanwhile the
feds hover in the background secretly filming the film-maker to bring
him down on obscenity charges.
This was one of the many b-movies put out by Crown International Pictures. Their output was notable for featuring plenty of nudity to draw in the crowds but surprisingly Blue Money is not especially salacious stuff given its subject matter and distributer. In fact it seems to be trying to be a serious drama first and foremost. This isn't precisely a bad idea but it ultimately fails on account of the poor characterisations and an overly underplayed storyline. Probably the biggest single issue though was the thoroughly under-par performance of the lead actor Alain Patrick who also directed, wrote and produced this as well! Fair play for trying to do everything but he is a terrible actor. At the end of the day, this is a movie that promises quite a lot given its interesting subject matter but it's sadly a pretty tedious affair for the most part.
I don't know about other reviewers but I thought this sleazy skin flick
was absolutely awful. Like other Crown International Pictures from the
era such as CINDY AND DONNA, this is a near plot less affair of
simulated sex between unappealing actors with a few dramatic elements
thrown into the mix.
The main character is a sleazy porn producer who falls for one of his own actresses. They attempt to get out of the business, but various stuff gets in the way. The whole film has a tired, cheap look to it, the characters are horrendous, and it's about unerotic as it gets. Viewers looking for genuinely sleazy fare will also be disappointed as films like this are oddly tame considering the shocking depravity that a lot of horror films were delving into during the same era (I'm thinking of THE EXORCIST and THE Texas CHAINSAW MASSACRE as an example).
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