Something Weird teamed BUTLER'S NIGHT OUT with an equally obscure but compatible film THE TIMID DEBUTANTE, latter previously missing entirely from IMDb. These two softcore movies (both of which were probably shot and released in hardcore versions as well) are okay for undiscriminating fans of "sex only" cinema.
The SWV shill "Don" who writes the dumb blurbs for back-of-the-box display is truly moronic here, trying the old silk purse from sow's ear switcheroo. His premise is that censorship, in this case snipping out the naughty parts (IMDb even incorrectly calls BUTLER'S a "short film" based on the truncated result) has made for near-classic arousal value, so enamored is "Don" of the tease. What he calls tease I call by its rightful name, a cheat.
Essentially, as a film buff I appreciate the softcore genre for its strengths, not only the emphasis on interesting story lines compared to its XXX brethren (see Joe Sarno's career as prime example) but the artistic sublimation involved. An analogy would be Spanish cinema up until the late '70s: under fascist censorship auteurs like Carlos Saura were forced to make allegories and parables of tremendous artistic merit, while later it was sex films (of varying quality) that took over that national cinema.
However, when a softcore film is merely constant sex approximating hardcore but crucially leaving out the payoff (penetration closeups and ejaculation being the tell-tale XXX elements) it is a pointless and ultimately fraudulent exercise -you might as well deliver the goods. That was precisely the message sent by the makers of the XXX breakthrough film MONA, tired of cheating the audience.
Casts overlap here, notably a bespectacled young thing named Maria playing the house maid. She is very similar to the fabulous softcore starlet Peggy Church who memorably portrayed THE ALL-American GIRL -very young looking, incredibly well-built and possessing spectacular nipples which are the focal point of the camera and her co-stars.
There's no plot, as basically the lady of the house seduces the maid in a shower scene that never happens (this is really low-budget), followed by an Eric Bogosian lookalike servicing the maid in one of the longest (and for me tedious & repetitious) bed scenes in memory. "Eric" and maid go through all the positions several times -in a real movie this would have been cut but NIGHT OUT is one of those real-time shooting/no editing productions.
There's a fat old coot with a hairy ass who arrives home (presumably master of the house), humps the lady and then stops in the maid's room to service her, too. He has no dialog and his face is barely shown -and his footage is simply a drag.
With both men showing proud erections on screen and a few seconds of fellatio in medium long shot looking like the real deal, I took BUTLER'S NIGHT OUT to be hardcore porn, merely edited for softcore venues before the extant print fell into Something Weird's hands decades later. Some very harsh jump cuts, in the middle of scenes which otherwise are left to run ad infinitum with no cuts, seem proof of tampering.
In the co-feature, our anonymous heroine is THE TIMID DEBUTANTE, imprisoned in a cheap-cheap-cheap dungeon at the film's outset, which has wooden walls and shag carpeting (!). This crummy set doubles as the villain's office too, just remove his desk and it becomes the dungeon.
His profession is not specified but after the lovely lass's imprisonment, women pop into his office episodically to kill the running time. His first customer is Judy Lindquist, on the lam from the cops, who gives him $1000 to arrange for her to leave the country. She hides out in the dungeon, for lesbo action with the débutante.
Second customer is played by the lady of the house from BUTLER'S NIGHT OUT, cast as Daisy May Lejoy, who is seeking work in show biz. (As you can see, this film has our villain working in human trafficking, smuggling and as talent agent, too. Its plotting makes an early Shaun Costello opus look like a well-crafted Joe Mankiewicz script by comparison.)
Suffice it to say that everybody ends up making love, orgy style, in the dungeon, including the villain's well-built, but unattractive Black secretary, whose very dark skin tones serve the mixed-combo format well. Slapdash ending consists of heroine suddenly escaping while everybody else lies around nearly unconscious, plum tuckered out from all the banging.
The SWV shill "Don" who writes the dumb blurbs for back-of-the-box display is truly moronic here, trying the old silk purse from sow's ear switcheroo. His premise is that censorship, in this case snipping out the naughty parts (IMDb even incorrectly calls BUTLER'S a "short film" based on the truncated result) has made for near-classic arousal value, so enamored is "Don" of the tease. What he calls tease I call by its rightful name, a cheat.
Essentially, as a film buff I appreciate the softcore genre for its strengths, not only the emphasis on interesting story lines compared to its XXX brethren (see Joe Sarno's career as prime example) but the artistic sublimation involved. An analogy would be Spanish cinema up until the late '70s: under fascist censorship auteurs like Carlos Saura were forced to make allegories and parables of tremendous artistic merit, while later it was sex films (of varying quality) that took over that national cinema.
However, when a softcore film is merely constant sex approximating hardcore but crucially leaving out the payoff (penetration closeups and ejaculation being the tell-tale XXX elements) it is a pointless and ultimately fraudulent exercise -you might as well deliver the goods. That was precisely the message sent by the makers of the XXX breakthrough film MONA, tired of cheating the audience.
Casts overlap here, notably a bespectacled young thing named Maria playing the house maid. She is very similar to the fabulous softcore starlet Peggy Church who memorably portrayed THE ALL-American GIRL -very young looking, incredibly well-built and possessing spectacular nipples which are the focal point of the camera and her co-stars.
There's no plot, as basically the lady of the house seduces the maid in a shower scene that never happens (this is really low-budget), followed by an Eric Bogosian lookalike servicing the maid in one of the longest (and for me tedious & repetitious) bed scenes in memory. "Eric" and maid go through all the positions several times -in a real movie this would have been cut but NIGHT OUT is one of those real-time shooting/no editing productions.
There's a fat old coot with a hairy ass who arrives home (presumably master of the house), humps the lady and then stops in the maid's room to service her, too. He has no dialog and his face is barely shown -and his footage is simply a drag.
With both men showing proud erections on screen and a few seconds of fellatio in medium long shot looking like the real deal, I took BUTLER'S NIGHT OUT to be hardcore porn, merely edited for softcore venues before the extant print fell into Something Weird's hands decades later. Some very harsh jump cuts, in the middle of scenes which otherwise are left to run ad infinitum with no cuts, seem proof of tampering.
In the co-feature, our anonymous heroine is THE TIMID DEBUTANTE, imprisoned in a cheap-cheap-cheap dungeon at the film's outset, which has wooden walls and shag carpeting (!). This crummy set doubles as the villain's office too, just remove his desk and it becomes the dungeon.
His profession is not specified but after the lovely lass's imprisonment, women pop into his office episodically to kill the running time. His first customer is Judy Lindquist, on the lam from the cops, who gives him $1000 to arrange for her to leave the country. She hides out in the dungeon, for lesbo action with the débutante.
Second customer is played by the lady of the house from BUTLER'S NIGHT OUT, cast as Daisy May Lejoy, who is seeking work in show biz. (As you can see, this film has our villain working in human trafficking, smuggling and as talent agent, too. Its plotting makes an early Shaun Costello opus look like a well-crafted Joe Mankiewicz script by comparison.)
Suffice it to say that everybody ends up making love, orgy style, in the dungeon, including the villain's well-built, but unattractive Black secretary, whose very dark skin tones serve the mixed-combo format well. Slapdash ending consists of heroine suddenly escaping while everybody else lies around nearly unconscious, plum tuckered out from all the banging.