Just a Dirty Girl

by Rich Moreland, January 2013

A reluctant burglar, phone sex, a murder and a girl who prefers to knit sounds like a super plot any Hollywood writer would love.

These explosive elements are part of four vignettes Girlfriends Films (GFF) has turned into a steamy little number called “Bad Lesbian” and it’s worth a good look.

Waiting in the Shadows

In the first narrative, Dillion Harper is the thief who’d rather not and Cassandra Nix is her partner who resorts to cheap tricks to keep the lovely bandit’s body close to hers. Pretending she’s been knocked round after getting nabbed purloining, Cassandra convinces her reluctant pal to soothe her wounds.

In short order, she turns the tables on a surprised and sympathetic Dillion.

 “If you hadn’t left me there, this wouldn’t have happened,” Cassandra says. It seems Dillion ran and now it’s time for another trip, the one over guilt.

To preserve their mutual thieving agreement, Cassandra waxes tender. After the kiss, the sex is underway.

In classic GFF manner, the predator takes over and “runs the fuck,” as the old saying goes. There is a smidgen of revenge in Cassandra’s plan. She grabs Dillion’s hair and grinds her crotch against the weaker girl’s face and playfully slaps the sweet little brunette, a statement of who is in control. The tatted Cassandra Nix is a veteran of Kink.com. It’s all been done to her and now it’s a lesson in rough love for Dillion.

Crime and dominating sex is also the theme of the fourth and final vignette. Natalie Heart is the abused and desperate daughter; Allie Haze, her new found tomboi friend. Allie’s switchblade dispenses with the inappropriately horny dad while the compliant Natalie waits in the shadows.

“There’s no turning back,” the street tough Allie tells Natalie, who hides her timidity behind a smile. A double meaning is in play here because Allie will possess the meek brunette for her own pleasure. Natalie’s choices are non-existent.

After the carcass is hidden away, Allie toys with Natalie’s sultry body. There’s lots of oral and finger banging, characteristic of each episode in the four-part package. Allie’s macho aggressiveness and Natalie’s natural assets add to the real attraction of this vignette: two emotional loners who have stumbled onto each other. When the scene concludes, the viewer is left wanting more.

Changing Plans

If parts one and four have a somber tone, two and three are lighter. When the predator girl is not at first obvious, the viewer needs only to find the boots. The pleasingly tatted Ash Holloway, the phone sex girl, wears them in the second narrative. This vignette is a charmer of opposites. Ash is the sexually charged college dropout and Kiera Winters the nerdy girl who is studying her life away.

Kiera spots Ash taking a call in her family’s backyard and investigates. The punkish looking blonde explains the walls in her house are “paper thin” and she wants to keep her $30-a-call gig from her mother. Kiera is curious and Ash suggests she change her plans, at least for the day.

“You’re about to spend four to six years of your young adult life buried in books,” Ash declares. “Have you ever done anything crazy?” Then she tells Kiera there is more fun to be had than just talking filthy on the phone.

Kiera is game and this petite Bobbi Starr look alike sells this narrative. Girl-on-girl sex has a huge male audience and GFF fans will place themselves into the scene and consume the diminutive brunette. She is that sweet.

The episode has terrific girl/girl chemistry. Their mutual oral is superb. During the sex, Ash finger bangs Kiera and reinforces their dalliance with a smutty “Deep down, you’re just a dirty girl.”

Narrative three between adopted daughters is the hottest of the DVD. For sheer sexiness, Bailey Blue and Casey Calvert are hard to beat (though both take their share of blows at Kink.com, pun intended) Bailey is the aggressor (spot the boots) and the very submissive Casey is the girl who knits.

Casey is trying to maintain a self-imposed celibacy but her “sister” persuades the gorgeous brunette to drop the knitting needle and go out on the town. Later when the sex begins Casey’s facial expressions unveil the hesitancy she feels. Using her eyes to frame her emotions, the AVN nominee for starlet of the year (include Dillion Harper in that elite group, by the way) is outstanding in roles in which she plays the reluctant, unsure girl.

Bailey portrays the spunky sibling to a tee. Their sex is hot and mutual without an aggressor, produced by two actresses who are building solid careers.

One more observation on Bailey and Casey, their scene has the highest degree of verisimilitude. In other words, two adopted daughters sexually involved with each other are quite believable in today’s world of blended families. As a result, the acting is carefully crafted to authenticate the situation. Bailey is appropriately petulant and Casey’s frail resistance tells the story. Kudos to both performers.

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In the pairings of each story, the performers create natural connections, a linchpin of Girlfriends Films. The power differences of actual lovers won’t work without real sex and reasons for the girls to dive into each other. In each episode, the girls are opposites of some variety, at first communicating their differences before yielding to the mutual chemistry that brings the contradictions together and initiates their erotic play.

The qualities of a Dan O’Connell production elevate porn to art. He uses three crew people and in most scenes, two major camera angles. Bodies are framed equally from there, minimizing the anatomy lesson of gonzo porn. Effective editing mixes shots that are sexual but not always graphic. The result is a sensuality characteristic of mainstream film with high priced talent.

This kind of movie magic doesn’t happen without planning and a carefully managed on set experience. Few studios do that better than GFF.