If Jerry Butler's tell all autobiography "Raw Talent" is to be believed, director Paul G. Vatelli lived a life of notorious bisexual abandon cut short by his death from an AIDS-related illness in 1986. As a fornication filmmaker, his output proved as varied as it was uneven, veering from (almost) adult classics like the thoroughly plotted BODIES IN HEAT and the unexpectedly witty STIFF COMPETITION to borderline drivel like SEX GAMES or BEVERLY HILLS COX in spite of the superstar presence of Shauna Grant and Ginger Lynn respectively where it seemed like he just couldn't be bothered. Between these two extremes were a slew of serviceable sleepers like I LIKE TO WATCH, SORORITY SWEETHEARTS and the frequently forgotten Colleen Brennan/Kim Carson scorcher COMING TOGETHER. Unfortunately, BODACIOUS TA TA'S the most memorable thing about which may be its, ahem, titter-inducing title rates pretty much near the bottom of the proverbial barrel, garnering one of Hustler Magazine's much dreaded if rarely accorded "totally limp" tags, not so much for actual content (routine at worst) but for flagrant failure to deliver on its potential, Vatelli's customary surface gloss unable to distract from the extreme flimsiness of the tired premise.
Easily the worst of a handful of hardcore RISKY BUSINESS adaptations (including the likes of KINKY BUSINESS, FRISKY BUSINESS, HYPERSEXUALS and the gay STICKY BUSINESS !), TA TA's raises the age of its mischievous male protagonists by having cuddly ball o'fur Ron Jeremy throw an impromptu bachelor party for buddy Dave Cannon who's about to get hitched to the decidedly middle-aged Pat Manning, an actress who has been around since the mid-'70s in movies like Phil Marshak's ambitious LUST AT FIRST BITE and Stu Segall's affable SUMMER SCHOOL. Since two don't make for much of a party, they're joined by Craig Roberts for a trip down to the local strip joint. Billed as "Greg Ruffner", a pseudonym he shared on occasion with Jeff Conrad (who's NOT in this film), the very handsome Roberts remains one of the most unsung studs of '80s erotica, racking up a massive number of credits including classics like Kirdy Stevens' TABOO IV and Suze Randall's steamy STUD HUNTERS. At the titty bar, viewers are "treated" to an apparently interminable series of exotic acts. Apparently, the folks over at Beate Uhse's German skin flick emporium agreed, so they spliced in a lusty lay with Jeremy and Tigr watched by Anna Ventura from Kemal Horulu's vastly superior NEVER SLEEP ALONE for local release, the version that magically turned up last week at the Brussels ABC Theater, presumably the last still operational 35mm porno palace in the world !
Look for non-sex though topless cameos from starlets Bunny Bleu, Renée Summers and Jody Swafford who turned up in such girlie watcher's delights as Frazer & Svetlana's BAD GIRLS III and Bill Milling's ALL American GIRLS II. Former Russ Meyer icon Kitten Natividad does the most high energy disrobing, but the future Patty Plenty (then still just Patti Wright) is clearly the most skilled, even performing a flawlessly executed tassel twirl, revealing a professional background in this field. By contrast, both Bridgette Monet and Rosemarie (a starlet shown to much greater advantage in Vatelli's BLOW OFF and Jerome Bronson's LINGERIE) display neither talent or enthusiasm, a trait catastrophically extending to their eminently forgettable sexual encounters. Though Natividad would not take the hardcore hetero plunge until the early '90s with TITILLATION 3 and 40 THE HARD WAY, she performs a graphic solo and a clearly non-simulated Sapphic with Wright who along with Manning, unceremoniously discarded after her torrid opening tussle with hunky Cannon turns out this flick's standout sex performer, if somewhat by default. Her midnight drunken encounter with Roberts, raising him from his slumber with scrumptious oral administrations, leaves competing carnal clinches in the lurch. Dave and Bridgette do their traditional husband and wife thing, though they weren't married until 1985, and it doesn't even seem to turn them on anymore.
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