2 out of 2 people found the following review useful:
Early example of the "wall to wall sex" format
lor_ from New York, New York
18 February 2011
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
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
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
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.
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