Phil Prince is in porn's history books as a director of notorious rough-sex movies, working for Avon in NYC in the early 1980s. This stinker isn't one of them, hardly representative of his work.
It's merely a loop carrier, starring Champagne as head of film company Delight Films, who orders her assistant Ron Jeremy (slim and young here) around as they watch 16mm loops and audition a couple (Dave Ruby and Silver Starr) for casting in a new movie.
The sex is as namby-pamby as porn is capable of presenting: couples humping plus a threesome of Billy Dee servicing a couple of girls (including Melanie Scott) by a fireplace. Meanwhile dominant Champagne orders Ron to have sex with her at will.
It's not amusing, though watching Ron Jeremy forced to be subservient is fun, not sexy and as generic as possible. Its only success is to kill time, par for the course in 42nd St. Theatrical cinema of the time.
One thing I noticed is how the juxtaposition of lounge Muzak on the soundtrack, which bears no relationship to the visuals, has an odd effect on the viewer, subliminal. This has been exploited most successfully in that sci-fi tv series of a few years back "Helix", where the relentlessly pleasant music clashed memorably with the horror of the story presented. Prince unintentionally does the same thing here.
It's merely a loop carrier, starring Champagne as head of film company Delight Films, who orders her assistant Ron Jeremy (slim and young here) around as they watch 16mm loops and audition a couple (Dave Ruby and Silver Starr) for casting in a new movie.
The sex is as namby-pamby as porn is capable of presenting: couples humping plus a threesome of Billy Dee servicing a couple of girls (including Melanie Scott) by a fireplace. Meanwhile dominant Champagne orders Ron to have sex with her at will.
It's not amusing, though watching Ron Jeremy forced to be subservient is fun, not sexy and as generic as possible. Its only success is to kill time, par for the course in 42nd St. Theatrical cinema of the time.
One thing I noticed is how the juxtaposition of lounge Muzak on the soundtrack, which bears no relationship to the visuals, has an odd effect on the viewer, subliminal. This has been exploited most successfully in that sci-fi tv series of a few years back "Helix", where the relentlessly pleasant music clashed memorably with the horror of the story presented. Prince unintentionally does the same thing here.