by Rich Moreland, April 2016
In this final installment of The Submission of Emma Marx: Exposed, we take a look at the sex scenes and how they play into the story.
There is much more within this film than I have room to cover in three brief posts so watch the movie for yourself. It is an rewarding experience.
Watermarked photos are courtesy of New Sensations/Digital Sin, the others are appropriately credited.
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Sex scenes are the bait that keeps the porn fan fishing.
Often presented formulaically, they drive a film’s reason to be. However, when and where the sexual interludes occur and what meaning is attached to them is not always clear.
A Jacky St. James feature is the exception. Her scripts dictate where the titillation is placed and why the characters are having sex.
Keeping this in mind, Exposed, the final drama of the Emma Marx trilogy, is textbook Jacky. There are five scenes (a deviation from porn’s usual four) and each is effectively worked into the plotline. The result presents sex that operates on more than one level.
Of interest, are the following.
Call the Babysitter?
The Nadia and Ray scene repeats the set up Jacky presented in the initial Emma Marx. Not yet married at the time, they have sex at the film’s beginning. In the next Emma installment, Boundaries, they go at each other once again as the story opens. In Exposed Jacky’s stays with the pattern and Nadia and Ray complete their own personal trilogy.
The couple has progressed to role-playing to keep their marriage interesting, or at least modestly so since their carnality is mired in the middle-class conventionality Nadia holds over Ray. They hinted at a bondage fantasy in Boundaries, now they’re interested in the illicit pickup.
Nadia is on a balcony with drink in hand. Background music suggests a social gathering. Ray comes up to her and they chat about the ongoing wedding celebration. Ray tries to put the moves on Nadia and she, insulted, splatters his face with her drink.
The scene quickly shifts to a bedroom all done up appropriately in vanilla white with a touch of gray. Only this time, the shades of their fetish sex seen in Boundaries are tossed aside like so many pillows.
The sex is top-of-the-line Riley Reid and her acting chops kick in when she says, “Wait, do you think we’d better call the babysitter?”
What’s this? A baby?
Ray assures her the sitter is “good all day” and that she, Nadia, is “ruining the fantasy.”
Mom reverts to character, telling her pick-up lover “this is just a one-time thing.” Later Nadia has to remind Ray to stay with the program when baby concerns come up again.
Their sex scene is the perfect transition into the third Emma Marx. Nadia and Ray are suburban bourgeoisie, of course, but deserve some credit for their mutual fantasy . . . though laughing about Ray’s getting off on the “horny girl at the wedding” remains stilted. Unlike Emma, their imaginations are play acting and unconnected to their reality.
Barely a Trace Left
Later Nadia phones Emma to share her sexual escapade as if it were purchased online. “It’s our new thing, just like you guys are playing with your whips and chains,” Nadia says.
Her affectation is cheesiness extraordinaire. Their role-playing romps are little more than larks, here today, something new tomorrow. This latest version plays within the bounds of what is passable as illicit sex. Sadly, throughout the Emma series Nadia never quite grasps that Emma and Frederick have a lifestyle, not “new thing.”
Incidentally, Nadia, dressed in a postcard version of a French maid’s outfit, later skypes Emma. She’s ready for role play night, she announces, but she’s not happy. Nadia doesn’t like the getup, too sleazy. It’s not her, she declares, because she spends all day being his maid anyway. It’s a mask that doesn’t do much for her sexually.
The real difficulty with Nadia is that her fantasies are scripted, not spontaneous. She comments that the outfit is “supposed to be me pretending to be someone else.” But her remark induces Emma to reflect on her relationship with Frederick.
“The truth was I felt more myself as his sub than I ever did as Emma. There was barely a trace of her left anymore.”
Emma’s revelation leads Jacky St. James to reveal the potential shortcoming of fantasy. Sometimes, it only goes one way. Emma admits that at least Ray shares his with Nadia. Mr. Frederick, on the other hand, is another story.
Rebecca to Joelle
Emma broaches the subject with her Dom and learns about Audrina, an uncomfortable episode that damaged his relationship with his former sub.
Two comments on this sex scene. First is Samantha Hayes who plays Rebecca. She is gorgeous with a smutty vigor that is as good as it gets. Second is the disastrous tone of this dalliance which proves sex in porn can carry a message.
Among other BDSM elements, there is light flogging and a collar and leash. Rebecca is taken to erotic heights while a hogtied Audrina, who set up this scenario, looks on unable to participate.
Frederick has to command Audrina’s attention when she lowers her gaze, telling her to keep watching. She obeys, but sadness overwhelms her as the sex gets heavier. This “gift” she’s given him, which ironically began as her fantasy, has changed their relationship.
In an effort to deter Emma from a similar mistake, Frederick lets her in on why his fantasies are not important to their relationship. As described in Part Two of this analysis, the scene opens up the remarkable talents of cinematographer Eddie Powell. Almost drowned in shadows, it’s shot in their bathroom, Emma submerged in soapy bubbles with Frederick sitting on the edge of the tub.
As the camera pulls away, Frederick, steeped in regret, drops his eyes, explaining that Audrina wanted to return to “a more traditional relationship.” Emma’s face is blanketed with alternating layers of determination and doubt. It’s a lesson in trust, problematic self-esteem, and implied jealousy. Though reality, illustrated by the looming darkness on both sides of the screen, is squeezing them, Emma moves forward with her plan.
Ignoring Audrina’s ill-fated mistake, Emma orchestrates the sex scene that she perceives to be her Dom’s fantasy. Joelle is introduced to Frederick and unlike Audrina, Emma will participate in their fun. Within the narrative, the threesome sex carries a transition message as illustrated by the doorway into the rec room that offers up the new play partner.
Aidra Fox is Joelle. Like Samantha Hayes, this brunette hottie has superstar written all over her. The show is fantastic with the twenty-year-old sporting a bondage outfit that shouts out the sassy eroticism that is Aidra’s trademark. In this reviewer’s opinion, her energy makes this scene the best of the film.
As Exposed winds down, Emma needs to reconnect with her real love, her fetish. Finding a new mentor whose compassion guides her reawakening, Emma explores a relationship with him she identifies as “therapeutic.”
“I paid him to dominate me a few hours every week, easing me back into that familiar world”
Among dark shadows, Emma enters a new doorway, the open gate of a bondage cage. Michael, in suit and tie, closes it behind her and binds her arms. Emma is now secure in the world she loves. Various shots of her yielding to his intense BDSM play follow. Emma faces her greatest challenge, conflating a partner she is just getting to know with her lust for the fetish.
“I was determined to overcome the fear of the pain of trusting someone new, no matter how intense the situation or the pain.”
Ryan Driller’s warmth and compassion demonstrates why he is the perfect choice for Michael’s role. Pay close attention to their eye contact moment, a deftly placed mechanism to rebuild trust. In fact, psychologists say that holding a gaze with another person releases emotion and becomes a precursor to love.
The film’s defining moment centers on its denouement. Emma removes the pendant with its W and the metaphorical mask it represents. She is now prepared to give herself to Michael, a significant step that moves her from the past into the present. In so many words, Emma’s world is now turned upside down, just as the W now is free to bec0me an M, in all ways that are good.
An older, wiser Emma tells us she is now “the strong courageous woman who is no longer living the socially acceptable existence, but one who has found her truth, [becoming] the person she was always meant to be.”
Using Exposed as her dramatic vehicle, Jacky St. James illustrates that playing roles is part of being human no matter our lifestyle (humorous scenes of Nadia and Ray enjoying their own ephemeral fantasy moments are shown at the end of the film). But when the masks that define our personas are stripped away, the heart is unfettered, no longer a prisoner of its past or shackled in the present. The real self is bared for all to see in its delicious liberation.
As Emma says, “your only thought is of this one precious moment and you’re left beautifully, perfectly, comfortably exposed.”
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A special congrats is due to the pair of actresses whose performances place the Emma Marx series in adult film’s library of legendary cinema.
Also, kudos are in order for two alluring porn princesses, Aidra Fox and Samantha Hayes. Their erotic shows heighten the impact of Exposed.
Of course, the hardworking crew that forged the Emma Marx trilogy into a porn classic deserves accolades!
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Some of the crew and cast associated with this film can be followed on twitter.
Here are their accounts: @jackystjames, @mreddiepowell, @pennypax, @OfficialAidraF, @RileyReidx3, @SamanthaHayesxo, @ryandriller