Extremely poor followup to Greene's 'Story of O' features
Money talks, and THE TRUTH ABOUT O demonstrates how reaching for the brass ring of manna can kill a project's potential. After scoring a hit with Carmen Luvana in the excellent O: THE POWER OF SUBMISSION and sequelizing with the okay THE SURRENDER OF O featuring Bree Olson, Ernest Greene miscast Bobbi Starr as a nothing O in this third and hopefully final segment.
Typically, the industry organizations nominated Bobbi as best actress for her walk-through as the title character, a total embarrassment. Re-casting of the major roles reminded me of the equally terrible (in mainstream terms) 3 different casts for the recent abortion known as ATLAS SHRUGGED.
Actually Ayn Rand in her grave would have been better served had Greene been hired (instead of TV flunkies and hacks) to re-imagine her combo Romanticism/Glories of Unbridled Capitalism as a BDSM fantasy, but instead we have parallel clunkers, one for us porn buffs and the other for right-wing nut-cases.
Though running a tedious 168 minutes, there is very little storyline to this third edition of O. Bobbi is cute, has none of the qualities that made Luvana memorable in the role, only adequately imitated by Luvana lookalike in Part 2, Olson. But other re-casting is beyond ludicrous: James Deen is the new male lead as Steven, O's master, taking over from the formidable presence of Evan Stone, and treating the role with supercilious disdain as he wanders around in an ill-fitting Hugh Hefner smoking/lounging outfit.
Greene shows further contempt for his loyal fans by substituting Michael Vegas of all people for Tommy Gunn as the almost sympathetic/pathetic Steven's ne'- er-do-well brother Ray. I'd like to meet a casting director who would approve of either "make 'em younger" substitution. Excuse me, but I thought characters aged with sequels, but that's just me.
One shift, that perhaps betrays where Greene's heart really resides, is upgrading Claire Adams to a starring position. She was previously a bit player, on hand to demonstrate her skills at tying up beautiful women meticulously in ropes - a talent that could easily have her writing her own ticket were she to emigrate to Japan (where rope bondage is not a fetish but seemingly as American as apple pie -to consciously mix my metaphors to the point of absurdity).
Here she does her rope tricks at great length (I guess I can't stop punning even if I try to stifle myself), with only a merciful dissolve or two provided to keep us from falling asleep. But she also engages in lesbian sex and even gets down (literally) on a big dildo at one point. This gives all-new meaning to that weird credit of Non-sex Performer one sees in these videos.
Conversely, Greene's better half Nina Hartley is downgraded to a nothing role (she gets great billing upfront and a mere afterthought placement in the end credits) as Marie, a central figure last time out but shortchanged on the costume changes and wisecracking this time around.
Film (shot on video) opens with a too-long set piece of basically a stage show .and dozens of credited extras attending including a foppishly dressed Greene, with his perennial S.E.G. frozen on his kisser. We watch Claire abuse professional submissive/actress Justine Jolie for an eternity, and had this been a feature film at a screening I'm sure the indulgent sequence would have earned many early walkouts. Especially tiresome is Jolie's repetitive "Please", "Thank you ma'am" and "I'll have another", a defect present in the last Olson edition too. I know the BDSM followers are perhaps the strictest folks on earth when it comes to verbal etiquette and politeness, but this crap is boring beyond belief.
Busty Krissy Lynn has a strong sex scene, which only makes one wonder why she didn't follow Carmen and Bree in the title role in place of the wan Bobbi. Similarly both Jessie Andrews, a star on the rise and superstar Asa Akira acquit themselves well compared to the unfortunate Ms. Starr. It's interesting to note how after Bobbi was named star of the year for 2012 by the industry media, her career subsequently went into the toilet.
Nominal story hook this time is that Deen wants O to find a suitable woman that the two of them can share as a slave. Predictably Asa Akria gets the nod, and in a very corny finish (Greene likes to repeat himself), she splits on him again, supposedly back again with brother Michael Vegas (not shown, just a Dear John letter to Deen to establish the fact), leaving poor Deen to have only Akira to keep him company. Boo hoo!
There's even a cop-out to the effect that one will never know the truth about O, it's her truth. Yeah, Earnest you can re-title this turkey THE B.S. ABOUT O.
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