Justine Jones, in a continuation of The Devil in Miss Jones, Part 1 (1973), is frustrated in hell. She makes a sexual deal with the Devil himself to earn a return to earth as an immortal ...
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Miss Jones is tired of her life and commits suicide. She comes to a place where its decided if she will end up in Heaven or Hell. Because of her suicide she should go to Hell but she has ... See full summary »
In the future, humans are divided into Sex Negatives and Sex Positives. The negatives get sick if they have sex so they go to Cafe Flesh to see positives who are forced to perform on stage ... See full summary »
Mark S. Esposito
Justine Jones, in a continuation of The Devil in Miss Jones, Part 1 (1973), is frustrated in hell. She makes a sexual deal with the Devil himself to earn a return to earth as an immortal human. However, in earning her escape, Lucifer falls in love with her. He doesn't want her to go but can't admit it because he's the Devil. The story gets underway as he tries to place her soul in nubile bodies on earth that are increasingly removed from opportunities for sex, in order to jealously deny her the one thing she craves. He finally tries the body of a nun, but this brings him into conflict with HIM, resulting in a humorous finale.Written by
Hard to imagine in these sequel-infested times that it took over a decade for a follow-up to Gerard Damiano's seminal DEVIL IN MISS JONES to materialize. An even bigger surprise is that this second installment matches its illustrious predecessor every step of the way. Director Ron Sullivan (a/k/a "Henri Pachard") exchanged Damiano's brooding existentialism for a far more lighthearted tone, gently poking fun at without ridiculing the sacred cow whose footsteps it followed.
Justine Jones (a welcome return of seasoned Georgina Spelvin) has been in hell for quite some time now and is none too thrilled about it, especially since Lucifer (gay porn legend Jack Wrangler from Joe Gage's KANSAS CITY TRUCKING CO.) and the Devil's Advocate (Robert Kerman a/k/a "R. Bolla") have ordered a ban on orgasms. While there's unlimited shagging wherever you look, no one's allowed to climax. Every time someone's on the brink of coming, head office is alerted and the offender has to answer for his or her illegal actions ! This crisis forces Justine to get off in unusual ways, like humping the sizable proboscis of Cyrano De Bergerac (Alan Adrian), producing an image that must have inspired the prosthetic sex epics of Paul Norman (EDWARD PENISHANDS). By employing her feminine wiles, Miss Jones seduces the reluctant Lucifer ("Don't call me Lucy !") and blackmails him into sending her back to earth in another body. Candidate recipients for Justine's wicked soul include call girl Roxanne (fiery redhead Jacqueline Lorians), bumbling girl soldier Private Parts (Joanna Storm) and an outwardly prim 'n' proper Tupperware saleslady (Anna Ventura, one of Svetlana's original BAD GIRLS). Nun Samantha Fox is briefly considered but quickly nixed when the Big Guy Upstairs has his say about it ! Sullivan's finest films all have the advantage of genuine wit, never slipping into vulgarity. This diabolical screwball comedy proves no exception. Inspired dialog, filled with naughty double entendres, is delivered in rapid fire fashion. This enhances the pleasure to be derived from this first rate sex farce with subtle references to Hollywood classics like HERE COMES MR. JORDAN and (the Lubitsch version of) HEAVEN CAN WAIT. The uniformly splendid cast is up to the task. Spelvin's always great to see (the years had been kind) at the sunset of her explicit career, though she's not in the movie that much. Most of it rests on the strong shoulders of Wrangler whose wryly funny characterization of the constantly bewildered devil even overshadows Kerman's deliciously devious turn as his mischievous adviser and this is one actor unaccustomed to being surpassed. Sharons Kane and Mitchell appear in the infernal interlinking segments, Kane as a giggling harpy with literal dick head Ron Jeremy and Mitch looking positively radiant as Marie-Antoinette, even though her Egyptian profile suggests a perfect Cleopatra, played here by Deena Ferrara instead.
Sex simmers pleasantly from start to finish, nothing too hot 'n' heavy, mind you, yet perfect for the friskier contingent of the couples crowd. Spelvin once again shows how it should be done in her one big scene with the perplexed horned (and horny) one. The glowing cinematography by erstwhile Chuck Vincent protégé Larry Revene a highly competent director in his own right as evidenced by WANDA WHIPS WALL STREET and RAW TALENT complements the heady brew of lust and laughter, making the most out of deliberately grotesque set design reminiscent of the visual overkill in Fellini's kitsch classic SATYRICON.
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