After years of toiling in the trenches for low budget companies like JTC under the moniker "Stan Lubrick" (with SEX KILLER and A NOUS LES PETITES INFIRMIERES some of the more accomplished efforts to come out of this period), Yannick Perrin got his big break from French industry giant Blue One the video age reincarnation of '70s porn theater empire Alpha France to join veteran filmmaker Alain Payet (who similarly had a cheap flick alter ego in "John Love") on their roster of hand-picked in-house directors. Perhaps as a result of adjusting his ambitions to the modest means at hand for so many years, Perrin cautiously avoided setting his sights too high, his first few films for his new employer simple yet sympathetic little sitcoms with a lot of refreshingly non-gimmicky sex from some of the more attractive Europorn industry mainstays. Following hot on the heels of his Blue One maiden effort LES SECRETAIRES, it's already obvious that the director is intent on assembling a group of regulars (many of them familiar from his "Lubrick" days) as both movies sport largely similar casts almost equally adept at delivering their lines as they are at on-screen fornication. Growing more comfortable with substantial budgets, Perrin would proceed to realize more ambitious fare like LE PLAISIR A 20 ANS and, his masterpiece to date, BELLES COMME LA VIE.
Lightweight it may be, but LES PARISIENNES delivers pretty much all it promises, i.e. a funny little story leading to a satisfying and logical conclusion via tons of energetically performed erotic encounters with lots of pretty people. In a small Parisian bistro, two girls at separate tables are waxing lyrically about their newfound boyfriends to their respective best friends. One of them is beautiful brunette Tiffany Hopkins (star of Gérard Gregory's Paris, CAPITAL DU VICE), a college student doubling as a Paris tour guide, showing an international tennis pro around town before putting out for him on the banks of the Seine. The other is Oriental Katsumi (at that time still on the cusp of super-stardom on both sides of the Atlantic), an upmarket shoe salesperson in need of legal advice provided by a convenient attorney who quickly gets into her briefs. A simultaneously uttered remark ("both" men had said that they did not just love them but they loved themselves for who they were with them) alerts the women that they've been seeing the same guy, Sébastian Barrio (a decent comedian also in Alessandro del Mar's overblown MILLIONAIRE epic for Private), a writer assuming various identities in order to seduce women as part of his research. Along with Tony Carrera (male star of DANS LA PEAU D'OVIDIE from Perrin's "Lubrick" stage), the guy who "couldn't help but overhear", the girls' best friends (Nomi and Delfynn Delage) plot their revenge on the serial womanizer. While Tony seeks help from befriended barrister Philippe Dean, longtime veteran from many French and Italian films, the ladies go shopping for clothes, end up comparing breast-size and working over lucky attendant Greg Centauro, who played the son in John B. Root's excellent FRENCH BEAUTY. Though technically they're supporting actresses, leggy Nomi (who made an indelible impression in Ovidie's wonderful LILITH) and curvaceous Delfynn (the most mature and experienced female cast member here, particularly memorable in Root's XYZ) make for an inspired double act, practically stealing the movie out from under the headliners. Delage proves an especially rambunctious comedienne, sort of an ardent Eve Arden if you'll pardon the pun. Tony and the girls, by now joined by the redoubtable Ian Scott (a stud of awesome prowess as evidenced in Angela Tiger's superb LE PARFUM DU DESIR), track down Sébastian to a sex club where two threesomes take place simultaneously. Anything goes Axelle Mugler (from Gregory's fine Absolute SEX) takes on Scott and Rodolphe Antrim while at the other end of the room and somewhat more related to the plot Seb and Tony make their acquaintance by way of highly accommodating Czech cutie Gina Blue, whose only other upscale credit's for Francesco Fanelli's DECADENCE. This all leads to Dean's posing as Barrio's elusive publisher, allowing the wronged ladies to acquire and destroy the author's diskette of intimate confessions with a spirited cast orgy by way of thanks.
Perrin's stint on the frugal side of film-making assures smooth sailing from start to finish. Frivolous comedy routines are effortlessly interspersed with carnal clinches that allow for passion rather than complicated positions for a change, the nicely compact one hour and a half running time never allowing viewer boredom to set in. Crystal-clear camera work suits the overall bright nature of the material, as does the hopped-up editing, instrumental in assuring the pleasantly breezy pace. Ultimately, only the cheesy synth score would have to go as it truly blights an otherwise technically sound effort.
Lightweight it may be, but LES PARISIENNES delivers pretty much all it promises, i.e. a funny little story leading to a satisfying and logical conclusion via tons of energetically performed erotic encounters with lots of pretty people. In a small Parisian bistro, two girls at separate tables are waxing lyrically about their newfound boyfriends to their respective best friends. One of them is beautiful brunette Tiffany Hopkins (star of Gérard Gregory's Paris, CAPITAL DU VICE), a college student doubling as a Paris tour guide, showing an international tennis pro around town before putting out for him on the banks of the Seine. The other is Oriental Katsumi (at that time still on the cusp of super-stardom on both sides of the Atlantic), an upmarket shoe salesperson in need of legal advice provided by a convenient attorney who quickly gets into her briefs. A simultaneously uttered remark ("both" men had said that they did not just love them but they loved themselves for who they were with them) alerts the women that they've been seeing the same guy, Sébastian Barrio (a decent comedian also in Alessandro del Mar's overblown MILLIONAIRE epic for Private), a writer assuming various identities in order to seduce women as part of his research. Along with Tony Carrera (male star of DANS LA PEAU D'OVIDIE from Perrin's "Lubrick" stage), the guy who "couldn't help but overhear", the girls' best friends (Nomi and Delfynn Delage) plot their revenge on the serial womanizer. While Tony seeks help from befriended barrister Philippe Dean, longtime veteran from many French and Italian films, the ladies go shopping for clothes, end up comparing breast-size and working over lucky attendant Greg Centauro, who played the son in John B. Root's excellent FRENCH BEAUTY. Though technically they're supporting actresses, leggy Nomi (who made an indelible impression in Ovidie's wonderful LILITH) and curvaceous Delfynn (the most mature and experienced female cast member here, particularly memorable in Root's XYZ) make for an inspired double act, practically stealing the movie out from under the headliners. Delage proves an especially rambunctious comedienne, sort of an ardent Eve Arden if you'll pardon the pun. Tony and the girls, by now joined by the redoubtable Ian Scott (a stud of awesome prowess as evidenced in Angela Tiger's superb LE PARFUM DU DESIR), track down Sébastian to a sex club where two threesomes take place simultaneously. Anything goes Axelle Mugler (from Gregory's fine Absolute SEX) takes on Scott and Rodolphe Antrim while at the other end of the room and somewhat more related to the plot Seb and Tony make their acquaintance by way of highly accommodating Czech cutie Gina Blue, whose only other upscale credit's for Francesco Fanelli's DECADENCE. This all leads to Dean's posing as Barrio's elusive publisher, allowing the wronged ladies to acquire and destroy the author's diskette of intimate confessions with a spirited cast orgy by way of thanks.
Perrin's stint on the frugal side of film-making assures smooth sailing from start to finish. Frivolous comedy routines are effortlessly interspersed with carnal clinches that allow for passion rather than complicated positions for a change, the nicely compact one hour and a half running time never allowing viewer boredom to set in. Crystal-clear camera work suits the overall bright nature of the material, as does the hopped-up editing, instrumental in assuring the pleasantly breezy pace. Ultimately, only the cheesy synth score would have to go as it truly blights an otherwise technically sound effort.