OB is one of those half arse, put together adult pics, this one rather nasty, messy as hell, trying to cram it's plot (yeah, easy as pie one) into an hour. A middle aged oriental madam (check out her stage name) runs a white slavery business, having a variety of girls taken off the street, and put to work, while being given this love juice, which gives them sexual appetites with their clients. Sadly the madam likes a couple of menage de trois, so she gets naked, with much appeal as a blue ring octopus. Adult star Jamie Gilles, (not the only one from Dracula Erotica here) is one of the guys who works for madam blue, and makes the dreaded mistake, as it turns out, with one fatal kiss, falling in love with an innocent. He plans to hold out on Madam Blue, not handing her over. This film is purely one adult pic, that experiments with raw action, and made as a daring pic, really taking to one more extreme, with some nasty themes, which this aspect of the film, I liked. It's not that really erotic, save for some nice stuff, among some unpleasantries where this is just a kill one hour off film, some scenes obviously improvised by the woman lead's crappy and unconvincing acting. Still, this attracting pic is vastly different from many other of these R porn titles.
4 Reviews
Kiss the Girls and Make Them Cry
Nodriesrespect20 July 2012
Warning: Spoilers
Debatably the most discreet of dirty movie directors, Bill Milling had good reason to keep a low profile. Like the decidedly more exhibitionist Shaun Costello, who brazenly performed on camera as well as behind, he kept up an active "real world" existence alongside his walk on the wild side. A respected professor of film and television at NYU, boasting degrees in English Literature, Philosophy and Cinema Studies, Milling forged a fecund career in TV production that would extend well into the '90s ! Currently, he's resting on his laurels as CEO of the American Movie Company, maintaining four fully equipped and well-frequented sound stages in Manhattan, whose website brags about Bill being the director of some 20 movies but stays conspicuously schtum about their exact nature. Were the world a more enlightened environment, Milling might have really wowed the masses for his prime achievement arguably lies in porn, contributing some two dozen carnal classics over a ten year period. To cover his tracks while supplementing his income, he hid behind a multitude of adult aliases, the most productive of which were "Philip T. Drexler Jr." and "Bill Eagle".
Tall, thin, bearded with large horn-rimmed spectacles typically too big for his gaunt visage, an unassuming man with a hint of milquetoast, as can be gleaned from the occasional cameo appearance in other people's projects like Romano Scavolini's cult horror NIGHTMARE. Cliché dictates respectable background to preclude pornographic pizazz, so it's heartening to realize that someone of Milling's social stature still harbored enough of a dirty mind to generate such fine filth as ORIENTAL BLUE, technically a "roughie" as it deals with white slave traders shipping kidnap victims to brothels worldwide though filtered through a sensibility diametrically opposed to the alleged demands of such penny dreadful tabloid trash. Although the material hardly seems to warrant as much, the movie shapes up as an intensely erotic ride from start to finish.
Kicking off with great nighttime footage of Manhattan's bustling Chinatown district, we're hurled straight into the action as evil Madame Blue (the single most memorable star turn bar none by seldom seen Peonies Jong) orders her obedient henchman Conrad (Alan Marlow) to drag unwitting Kim Pope into the back of her blinded Limo. Stifling the girl's anguished cries with an immediately administered dose of her home-brewed "Love Juice", Blue transforms her from struggling victim to willing accomplice in no time. Former sexploitation starlet Pope shines as she obsessively gobbles Marlow's member as well as Peonies's pudendum. Much of the movie's carnal content follows the established template of Madame Blue barging in uninvited to partake in the indoctrination already in progress of yet another sorry slut sloshed on Love Juice by one of her underlings.
Intrigue kicks in as the mysterious Max (carnal comedian Bobby Astyr resorting to his customary kvetching shtick), a representative for the NBA (standing for the National Bordello Association !), orders a handsome selection of hussies to be exported to whorehouses around the globe. A three-way with the Madame and her "best girl" Angel (C.J. Laing, who always suggested subservience well) seals the deal. The proudly perverted Stephen picks up a French girl for proposed rough treatment that hardly ventures beyond vanilla, excused by the mere presence of the luminous Terri Hall teamed with real life paramour and Stuttgart Ballet colleague Steven Lark. While few of Blue's grunt men would dream of refusing her amorous advances, one of them (Jamie Gillis as Brock) defiantly does and since he's the most prolific of procurers there's precious little she can do about it. Luring a freshly mugged lass from the sticks (Bree Anthony) back to his bachelor pad, Brock substitutes his seasoned shlong for that of partner in slime Antonio, played by the starlet's off-screen spouse Tony Richards. Careening towards an inexorable climax, Milling manages the estimable feat of piling up the pornographic encounters while simultaneously steering the storyline as Brock reluctantly hands Bree over to Blue in exchange for Antonio whom she now holds hostage. Making her move on the whiny wench, the Madame correctly figures this will draw the unwilling object of her affections to her lair, resulting in a double dose of death.
While subsequent Milling movies might strike a more successful balance between plot and porn, there's no denying the director's skill at making a "proper" picture that holds its own in the face of mainstream entertainment. The searing intensity of the flick's copious cavalcade of carnal encounters carries an unexpected electric charge from a man who was to get on Costello's bad side when their conflicting temperaments resoundingly clashed over Milling's stint as production manager, at the behest of worried co-creator Kenneth Schwartz (indeed a separate person instead of another Shaun alias as was wrongfully assumed for a long time), on the joint venture double whammy of Fiona ON FIRE and Dracula EXOTICA. Ironically, Costello was pressed into duty by "the Greeks", who ran the notorious Capri theater, to create a sequel to his soon to be nemesis's ORIENTAL BLUE in the Vanessa Del Rio showcase THAT LADY FROM RIO ! Bearing in mind Milling's professional pedigree, it should come as far less of a surprise that the film's consummately lit and photographed by Valentine Mu Rana who was to stand by his side through these early stages, doing a particularly fine job on his underrated TEMPTATIONS. As with most '70s porn, the soundtrack's a fascinating grab bag of library tracks and mainstream sources with several cuts from Lalo Schifrin's score for Bruce Lee's breakout blockbuster ENTER THE DRAGON as well as the unnerving use of some surprisingly well-known chart hits. Bree's initiation plays out to legendary chick combo The Chiffons warbling their indelible "Sweet Talking Guy" in the sweetest close harmony ever heard by mere mortal ears as Brock butters her up for Antonio's sudden intrusion and the score appropriately segues into Linda Ronstadt's cooingly chiding "You're No Good" !
Tall, thin, bearded with large horn-rimmed spectacles typically too big for his gaunt visage, an unassuming man with a hint of milquetoast, as can be gleaned from the occasional cameo appearance in other people's projects like Romano Scavolini's cult horror NIGHTMARE. Cliché dictates respectable background to preclude pornographic pizazz, so it's heartening to realize that someone of Milling's social stature still harbored enough of a dirty mind to generate such fine filth as ORIENTAL BLUE, technically a "roughie" as it deals with white slave traders shipping kidnap victims to brothels worldwide though filtered through a sensibility diametrically opposed to the alleged demands of such penny dreadful tabloid trash. Although the material hardly seems to warrant as much, the movie shapes up as an intensely erotic ride from start to finish.
Kicking off with great nighttime footage of Manhattan's bustling Chinatown district, we're hurled straight into the action as evil Madame Blue (the single most memorable star turn bar none by seldom seen Peonies Jong) orders her obedient henchman Conrad (Alan Marlow) to drag unwitting Kim Pope into the back of her blinded Limo. Stifling the girl's anguished cries with an immediately administered dose of her home-brewed "Love Juice", Blue transforms her from struggling victim to willing accomplice in no time. Former sexploitation starlet Pope shines as she obsessively gobbles Marlow's member as well as Peonies's pudendum. Much of the movie's carnal content follows the established template of Madame Blue barging in uninvited to partake in the indoctrination already in progress of yet another sorry slut sloshed on Love Juice by one of her underlings.
Intrigue kicks in as the mysterious Max (carnal comedian Bobby Astyr resorting to his customary kvetching shtick), a representative for the NBA (standing for the National Bordello Association !), orders a handsome selection of hussies to be exported to whorehouses around the globe. A three-way with the Madame and her "best girl" Angel (C.J. Laing, who always suggested subservience well) seals the deal. The proudly perverted Stephen picks up a French girl for proposed rough treatment that hardly ventures beyond vanilla, excused by the mere presence of the luminous Terri Hall teamed with real life paramour and Stuttgart Ballet colleague Steven Lark. While few of Blue's grunt men would dream of refusing her amorous advances, one of them (Jamie Gillis as Brock) defiantly does and since he's the most prolific of procurers there's precious little she can do about it. Luring a freshly mugged lass from the sticks (Bree Anthony) back to his bachelor pad, Brock substitutes his seasoned shlong for that of partner in slime Antonio, played by the starlet's off-screen spouse Tony Richards. Careening towards an inexorable climax, Milling manages the estimable feat of piling up the pornographic encounters while simultaneously steering the storyline as Brock reluctantly hands Bree over to Blue in exchange for Antonio whom she now holds hostage. Making her move on the whiny wench, the Madame correctly figures this will draw the unwilling object of her affections to her lair, resulting in a double dose of death.
While subsequent Milling movies might strike a more successful balance between plot and porn, there's no denying the director's skill at making a "proper" picture that holds its own in the face of mainstream entertainment. The searing intensity of the flick's copious cavalcade of carnal encounters carries an unexpected electric charge from a man who was to get on Costello's bad side when their conflicting temperaments resoundingly clashed over Milling's stint as production manager, at the behest of worried co-creator Kenneth Schwartz (indeed a separate person instead of another Shaun alias as was wrongfully assumed for a long time), on the joint venture double whammy of Fiona ON FIRE and Dracula EXOTICA. Ironically, Costello was pressed into duty by "the Greeks", who ran the notorious Capri theater, to create a sequel to his soon to be nemesis's ORIENTAL BLUE in the Vanessa Del Rio showcase THAT LADY FROM RIO ! Bearing in mind Milling's professional pedigree, it should come as far less of a surprise that the film's consummately lit and photographed by Valentine Mu Rana who was to stand by his side through these early stages, doing a particularly fine job on his underrated TEMPTATIONS. As with most '70s porn, the soundtrack's a fascinating grab bag of library tracks and mainstream sources with several cuts from Lalo Schifrin's score for Bruce Lee's breakout blockbuster ENTER THE DRAGON as well as the unnerving use of some surprisingly well-known chart hits. Bree's initiation plays out to legendary chick combo The Chiffons warbling their indelible "Sweet Talking Guy" in the sweetest close harmony ever heard by mere mortal ears as Brock butters her up for Antonio's sudden intrusion and the score appropriately segues into Linda Ronstadt's cooingly chiding "You're No Good" !
Excellent 70's hardcore gem
Woodyanders13 March 2014
Warning: Spoilers
Madame Blue (ably played with wicked aplomb by Peonies Jong) runs an underground white slavery racket with ruthless efficiency. Her henchmen abduct fetching young women from off the streets and subject them to all kinds of carnal pleasure before giving the girls over to Madame Blue. Director Bill Milling and writer Valentine Mu Rana completely follow through on the lurid potential of the sensationally seamy subject matter: We've got gals drugged with aphrodisiacs, voyeurism, lesbianism, three-ways, submission, and degradation along with the more conventional fellatio, cunnilingus, and straight copulation. The topflight cast of familiar East Coast 70's porno perennials helps a whole lot: Bree Anthony as naive hick chick Antea, Bobby Astyr as conniving hustler Max, Jamie Gillis as suavely slimy troublemaker Brock, C.J. Laing as Madame Blue's subservient pet Angel, Kim Pope as a pretty actress, Alan Marlow as the nerdy Conrad, Terri Hall as a sensual French lady, Steven Lark as the evil and decadent Stephen, and Juliet Graham as a ravishing willing blonde. This picture earns extra praise for its fine use of gritty New York City locations and an amazingly audacious soundtrack of popular (and unlicensed!) songs that includes Lalo Schifrin's score for "Enter the Dragon" and Linda Ronstadt's "You're No Good." Mu Rana's remarkably slick and well lit cinematography provides an impressively polished look. Mandatory viewing for fans of the Golden Age of adult cinema.
The girls are many and varied and the action also
christopher-underwood12 October 2013
Another real surprise from Vinegar Syndrome and well worth a watch for those of broad tastes. The girls are many and varied and the action also. Great photography includes night time street shots and we begin in more traditional New York nightlife territory before slipping over into Chinatown where our story of white slavers takes place. Actually that is massively overstating the plot which is simply a devise to introduce the many and varied as previously mentioned. Peonies Jong is the buxom Chinese who is at the centre of this colourful affair and among the fine cast are C J Laing in one of her very first films (presumably made on leave from her other job as groupie to the Grateful Dead!). The movie also features Jamie Gillis, whose appearance usually suggests a quality product. The soundtrack is amazing and includes many recognisable songs and orchestral bits and bobs - would have been a nightmare for anyone actually bothering with the copyright issues. Imaginatively constructed and shot and if it begins to wane after an hour it has still managed to weave some exotic potion along the way.
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