Tourist Trap II is a sequel in concept to Whitman's earlier Tourist Trap. Different models are use in TTII, though. The star of this outing is Karen Arthur (The Escape), who did mostly loops and still shoots. We are back in Nagwaya, a mythical Latin American country that has captured the interest of International Students for Peace, a college organization whose only members seems to be outrageously good-looking young women who perform their peace- keeping duties in tight dresses, strappy high heels, and skimpy underwear. What could have been a sobering documentary about efforts to bring political stability to a developing country take a left turn from the very first frame and becomes a first-class rope-fest.
Arthur and HOM stalwart Lori Waverley are given the Whitman treatment in different scenes, solo and paired, each position more strenuous that the last, along with an unnamed damsel whose connection with all this is never explained to us. To the rescue comes Sharon Montgomery in her diaphanous dress and, guess what, strappy high heels, who is forced to join the Arthur-Waverley tag team and demonstrate her ability to stand up (literally) under the contortions that Whitman, as The Sargent, fastens her into. And all three are set upon by the evil Maria. There is just enough plot here for the goings on to make sense, as if they really need to, but a story line does create dramatic tension that is resolved in the end by the sound of machine-gun fire off camera. The revolution has begun and the hapless lasses are saved, but not before we have seen another hour of roughie bondage that only Whitman's mastery could produce. Very recommended.
Arthur and HOM stalwart Lori Waverley are given the Whitman treatment in different scenes, solo and paired, each position more strenuous that the last, along with an unnamed damsel whose connection with all this is never explained to us. To the rescue comes Sharon Montgomery in her diaphanous dress and, guess what, strappy high heels, who is forced to join the Arthur-Waverley tag team and demonstrate her ability to stand up (literally) under the contortions that Whitman, as The Sargent, fastens her into. And all three are set upon by the evil Maria. There is just enough plot here for the goings on to make sense, as if they really need to, but a story line does create dramatic tension that is resolved in the end by the sound of machine-gun fire off camera. The revolution has begun and the hapless lasses are saved, but not before we have seen another hour of roughie bondage that only Whitman's mastery could produce. Very recommended.