Tag Archives: Brooklyn Lee

Borrowing a Little from Bach

by Rich Moreland, February 2013

A final word about the making of this film: the movie is a collaborative project, as I have mentioned previously. Performers Lea Lexis and Brooklyn Lee contributed to the script with Lexis doing the make-up and acting as co-producer for the scenes shot in Budapest. Here is a look at the last episode, “Es ist Vollbracht!”

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The alliance of Father Zoltan and Adriana is in place in the final episode. Their first task is to dispense with the Amira issue. In a scene that is reminiscent of the final chapter in Pauline Reage’s the Story of O, Amira enters a room wearing a mask, the kind found at costume balls. Zoltan is in the background chanting in German.

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“Es ist vollbracht” is heard. The phrase comes from Bach’s St. John Passion and references Christ’s final dying words on the cross. “It is accomplished, what comfort for all suffering souls.” Will Amira return to the living and finally see the sun?

IMG_9563Ritual highlights the scene. Before the ceremony begins, a male blood slave is presented for Adriana’s inspection. Zoltan’s chanting continues as Adriana removes Amira’s mask. Her fangs come out to let the viewer know this is a vampire inspired rite. The act is an unveiling, recalling the Jewish practice of recognizing death. Amira will now grow old and die as a human when the ceremony is completed.

Adriana rips off Amira’s talisman, a circle of green stone she wears around her neck. The type of stone is not clear, but it is emerald-like which carries a water reference. The water motif appears throughout the film as would be expected. It is the symbol of life and rebirth. Shortly the holy water of the church and will play a role in this scene. Incidentally, a talisman is invested with power by its creator. To remove it ends its ability to protect the wearer.

Amira is impassive and in a trance-like state. Manuel supports her from behind as she bends over on top of a platform, her face against the cloth cover, her buttocks raised.

Waiting

Waiting

Adriana’s fangs tell us that we will see the passing of a vampire’s existence in a rite conducted by a vampire.

A satanic guttural voice over is heard. Manuel puts a glass tube shaped like a dildo into Amira’s anus through which holy water will be poured.

Preparation

Steeling the Will to Endure the Pain

With each new application of the water, Amira screams and howls in agony. Like a rite of passage, the water flows into the canal of immortality as it exists in the vampire world. Amira’s site of much sexual satisfaction is now purified of its vampire longing and lust.

Zoltan drives his red crucifix into Amira’s rectum to seal the deal. It is done. Adriana turns to the priest and gives him a kiss.

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The scene shifts to a countryside inn. Morning is breaking and Manuel and Amira are together.

The Lovers

The Lovers

The sex scene in this version is much tamer than others in the film for now we see a love story. At one point Manuel takes Amir to the huge window that looks eastward, bathing her in sunlight. As a reminder that the past is just that, or so the viewer is led to believe, Amira slides down below the window sill with the back of her head against the wall. In a replay of her encounter with Zoltan in front of the Victory Column, she orally satisfies her lover.

The golden angel on the column is replaced with the rising sun.

The Princess sees the Sun

The Princess sees the Sun

The sex continues and is a reminder of the gentler kind found in couples’ porn. Amira has equality with Manuel. Her body is not used for the pleasure of vampires, but enjoys its own pleasuring. The room continually brightens as the sun streams in. All is well, right?

Not quite, because there is a shocker to come before this film is finished. How did Amira became a vampire? What of the conspiracy? Where does Vlad fit into the story’s larger reality now that Adriana has freed Amira? Will the vampires pursue the lovers in an act of revenge? You will have to see for yourself.

To borrow a little from Bach, I’ve accomplished my task. The rest is up to you.

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Before departing from this tale, a brief salutation to the women who make this adult film a real treat. Evil Angel relied on European talent for the most part and the overseas pool of performers is well stocked. By the way, I’ve heard from some girls in the biz that the glam shots are sometimes the toughest to do.

Kudos to this group.

Ivana Sugar, Lea Lexis, Sandra Romain, Brooklyn Lee, and the Buddha

Ivana Sugar, Lea Lexis, Sandra Romain, Brooklyn Lee, and the Buddha

In the recent Adut Entertainment Expo in Las Vegas, the film was represented by Brooklyn and Lea.

Getting Ready for the Awards CeremonyPhoto courtesy of AVN

Getting Ready for the Awards Ceremony
Photo courtesy of AVN

 

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Are You a Real Vampire?

by Rich Moreland, February 2013

This is the fifth episode of Voracious. It’s titled “I Want to See the Sun” for good reason. The encounter between Amira and Vlad is most intense and I am told it captivated the crew as it was filmed. Brooklyn Lee’s performance takes the viewer beyond the premise that this is a pornographic movie. Her emotional conflict and expression of her desires in the face of Vlad’s carefully orchestrated wrath is a filming coup that rarely occurs in the studios of the Other Hollywood.

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Through his contacts with Father Zoltan, Manuel Batiste arranges to go to Berlin to meet up with Amira. Before leaving, he gives instructions to his secretary Karen to look after things. He adds that he will need her help with research.

Karen (former adult actress Tricia Deveraux) replies, “Vampires?”

“No, folklore,” Manuel says. Does he really believe in vampires?

Arriving in Berlin, Manuel arranges to meet Father Zoltan in front of Charlottenburg Castle. The structure is built in the Baroque style, a tribute to the Catholic Church. Like many European landmarks of the 16th and 17th centuries, the castle has a vast stone courtyard that extends to the street. What better place to meet a connection to the vampire clan than a monument to a religious age in European history.

Father Zoltan is to the point. Manuel’s interest in Amira sparks a curiosity for him and he wants an explanation.

“I have my reasons,” Manuel replies.

Zoltan is humorless. “Tomorrow, 10 p. m. at the Golden Angel, she’ll be there.”

“Good,” Manuel says, “I’ll see you then.”

Manuel's conversation with the Priest is Finished

Manuel’s Conversation with the Priest is Finished

As Manuel departs, Adriana watches a distance away.

Adriana has Plans

Adriana has Plans

“He shows up, I see,” she says to the priest.

“He’s going to be very useful,” Zoltan’s voice is firm.

“I agree.” Her wicked smile portends things to come.

 

The Victory Column and the Posture Collar

From his hotel room window, Manuel stares at the Victory Column, a Berlin landmark and a central image in the film.

The column was constructed in mid-nineteenth century during the struggle for German unification. The century was also the age of vampire lore. Later the column was symbolic of the Nazi rise to power in the 1930s, a time when demonic forces possessed an entire nation. Ironically, from a psychological perspective it has a Jewish connection; the column is a Freudian phallic symbol. When seen from a distance the angel atop the column is a visual metaphor of power. Angels come in various forms and can be good or bad. They are born out of imagination, desire, sexuality, and fear. Are vampires among the ranks?

The Angel

The Angel

John Stagliano swirls these ideas into this chapter of the saga. The viewer is reminded of the column motif and its greater power over the story.

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The scene shifts to a warehouse. The interior is in disarray as one might find unkempt storage spaces. A steel structure that resembles a very broad ladder is positioned in front of two coffins, those of Dracu and Vald.

The Vampires Await the Darkness

The Vampires Await the Darkness

Hanging upside down on the ladder is a nude Amira. She is the column in a reverse world. Her hands are folded over her breasts. She is bat-like guarding the vampires. Dracu arises out of his coffin, reborn of the darkness. He approaches the ladder and arouses Amira’s body with his steel tipped fingernails. Her eyes pop open sharply.

Amira wears a posture collar, a popular accoutrement in the BDSM community. The collar is long and confining and has the purpose of keeping a sexual submissive’s neck straight and restricted. In Amira’s case, it is a symbol of control, preventing her from looking elsewhere to break the spell of the darkness.

The scene, which begins in black and white, now shifts to color.

Amira’s body visually lengthens, staying with the column imagery. Her arms dangle straight down; she grasps the lowest bar as if to stretch out.

Getting Amira Ready for Vlad

Getting Amira Ready for Vlad

She pulls herself up with a deep bend like a vampire emerging from a coffin and stands in front of the steel structure. She is awaiting Vlad. When he abandons his coffin and faces her, Amira’s eyes speak of recognized inferiority.

 

“So she’s the American girl,” Vlad utters.

Amira stares straight ahead, unflinching, in the best of submissive postures. Dracu backs away. Vlad has work to do and it entails breaking down Amria.Episode5_024

For BDSM aficionados this scene is a must. John Stagliano commented to me how moved he was with Brooklyn Lee’s performance. Rocco Siffredi shows his skills as a porn veteran and Brooklyn’s acting is over the top.

The sex is totally oral and filled with body fluid as is Stagliano’s preference. But it’s the drama that entices. Vlad is emotionally beating down Amira and in a tension filled moment she screams, “I want to see the sun!”

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Now the truth comes out. She is fighting back tears.

At this point the images of the film come together. In a mighty struggle, Vlad is forcing his will on Amira. Her throat fills with fluid, almost drowning her (the water image). She repeatedly rises out of the water to be reborn, only to be attacked once again by Vlad’s “column.”

Suddenly Amira, head arched back over the rail of the ladder, spews out all the fluid in her mouth. An explosive sound is heard. The angel erupts from the victory column that is now Amira’s body. She screams again, “I want to see the sun!” in the same metaphoric way the golden angel gleams in the sunrise over Berlin, the once capital of evil and destruction.

Eruption

Eruption

Vlad slaps her violently, as if in a desperate attempt to discipline her and drive the angel back into the night. His anger surges forth.

“Please!” she begs and screams.

“You’re not a real vampire!” he growls.

“I don’t know!” she cries in confusion. “I don’t know!”

Vald’s fury mounts. His hands grip her throat to squeeze the life out of her; he is taunting her.

“Please don’t kill me!” Amira pleads.

“If you decide to become human again, I will kill you!” he shouts. Vengeance is mind saith the Vlad.

What is this? Is Amira in some kind of vampire purgatory? She has choices? Does Vlad kill the undead to discipline the clan or simply for sport?

Vlad Forces the Angel Back into Hiding

Vlad Forces the Angel Back into Hiding

Vlad rams his fingers into Amira’s mouth. Her eyes stare up at him in desperation and fear. Her face becomes immobile, freezing in its tracks her longing to be reborn in daylight.

 

 

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You Love This?

by Rich Moreland, February, 2013

My special thanks to Evil Angel Productions for the photos used in this series.

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Voracious’s third episode, titled “Fuckin’ White American Trash,” opens back in Los Angeles. Antropoligist Manuel Batiste has returned to the property ostensibly to purchase it, but in reality he’s looking for Amira. He comes at dusk intuitively feeling that this is the proper time to meet her. Remember the mirror? The house is locked up.

Calling the realtor, Manuel is told the residents are gone.

Just as the house has locked up vampire lore, Amira will have her own trial to “lock up” her clan loyalty.

Returning to his office, Manuel runs an internet search on vampires. A strange article on a dead vampire in Szugio, Hungry, shows up and Manuel notices the circular medallion hanging around the neck of the body. It’s the same as Amria wears. The article suggests there is a vampire clan in the area.

Not surprising, Father Zoltan is referenced and claims the clan talk is just superstition.

Clamping Down a Wandering Soul

The scene shifts to Hungry. Amira enters a room in the house where she is confined by Dracu. A glass enclosed St. Andrew’s Cross (an upright X) is the room’s centerpiece. The Vampire Mistress (Sandra Romain) is positioned with her back arched over the intersection of cross’s arms. Her hands are raised holding onto chains that drop down from the ceiling. She wears breast and labia clamps likewise attached to chains.

The St. Andrew's Cross and The Vampire Mistress

The St. Andrew’s Cross and The Vampire Mistress

According to Christian lore, St. Andrew brought Christianity to Eastern Europe, particularly Romania. At his execution, he was tied to a cross that was positioned on its side, an inferior status to the original crucifixion because Andrew did not feel worthy of Christ. The cross, the conduit of death, resurrection, and martyrdom, is a staple in BDSM play spaces today because a sexual submissive can be bound in a spread-eagled position.

When Amira circles the enclosure, the Mistress’s eyes open and stare in her direction and turn blood red.

Satanic Red is a Head Drop Away

Satanic Red is a Head Drop Away

The message to Amira is clear. You are inferior and not worthy of joining the clan until you prove yourself.

The remainder of this episode furnishes a sexual encounter that is rough and tumble. When I spoke with John Stagliano about Brooklyn Lee’s incredible performance in the film, he singled out Episodes Three and Five as being exceptionally tense and real. I would agree. No matter how long Brooklyn Lee remains in adult film, she will be remembered as a superstar in this movie.

Only the work of Kink.com’s Peter Acworth can compare with the hard hitting BDSM sexuality of the extended scene that follows. There are no nuances here. Amira is tested by the Vampire Mistress, played beautifully by Sandra Romain, who like Brooklyn Lee has a history of performances at Kink.com. The actresses are complements of each other in this scene.

Amira's Tribulations Begin

Amira’s Tribulations Begin

Suffice it to say the clan has detected reluctance and weakness in Amira and it’s time to call her to task. Clamps of different varieties are used on Amira as a form of discipline and dominance. During the sex, the conflation of pain and sensuality common to many devotees of BDSM subjects Amira to the test she undergoes.

The Mistress taunts Amira as the sex intensifies.

“I want to be proud of you!” the Mistress screams at Amira, who will be broken in this trial.

But the Mistress detects weakness early in the game.

“You give up, you fuckin’ bitch,” the Mistress derides Amira. “You give up!”

Brooklyn Lee’s performance ranks with the best I’ve seen from San Francisco masochist and porn icon, Madison Young, whose shoots are the zenith of BDSM.

The verbal tirade continues.

“You are white American trash,” the Mistress yells.

Amira is breaking. “I’m nothing,” she responds in almost a whisper.

The Mistress slaps and kisses Amira, disciplining and seducing her as a dominant would a submission in the theater of BDSM.

“I just want to be yours,” Amira barely utters. But the proof is not there yet. The sex continues, a DP is on the menu, and the Mistress never gives up.

She pounds away verbally at Amira as the two males in the scene work over her body.

How Much Can She Handle?

How Much Can She Handle?

“Am I too rough for you?” the Mistress asks. “You love this?”

“I want to be like you,” repeats Amira.

Vampire triumphant compete, the Mistress withdraws. Amira is left smiling and a body covered with spit and ejaculate. She has broken through to the other side, satisfying the immediate demands of the clan. Or so it seems.

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Practicing Sadomasochism

By Rich Moreland

This is the first in a series of reviews of Evil Angel’s Voracious, an awarding winning adult film divided into ten episodes. The following is the opening narrative titled, “Learn to Control Yourself.” The other installments will appear soon.  All photos in this series are courtesy of Evil Angel.

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Soft A

If he were writing today, how would Bram Stoker describe Jonathan Harker’s encounter with the female vampires in Dracula’s Transylvania castle? Harker arrives to facilitate a real estate transaction for the count and finds his life turned inside out when he is assaulted by Dracula’s brides.  Stoker’s only option in his classic 1898 novel is the reader’s imagination. Sexually repressed Victorians were unable to abide the details.

But now all is revealed in John Stagliano’s Voracious, a modern version of vampires, sex, love, and conspiracy.

Manuel Batiste, played by porn icon, Manuel Ferrara, visits a hillside home facing the Pacific.  He’s a potential buyer of this for sale property that carries some external wear.Episode1_031

With the last vestiges of twilight vanishing into darkness, Manuel enters the home and immediately sees a statue of a satyr ravishing a young woman whose back is arched in ecstasy. Remember that image, it’s highly charged and is the ticket to get the viewer through a three-way sexual joyride that is worth every penny spent on this film.

Amira, played by the super sexy Brooklyn Lee, appears seemingly out of nowhere to apologize for being late. Stagilano dresses her in a skin-tight outfit that shapes her derriere into a desirable commodity, a trait of a John Stagliano film. As a matter of fact, the Stagliano stamp is all over this production.

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Manuel is an anthropologist and Amira is a fan of his writing. He learns that Amira and a friend, Adrianna (Romania actress Lea Lexis) have been house-sitting for quite some time. The absent owner is in Europe. Amira directs Manuel to go upstairs and look around. He starts up the steps; she pulls out her cell phone.

“Yeah, he’s what we’re looking for,” she tells the other party, her eyes a conflation of lust and evil. Oh, Jonathan Harker, were Dracula’s brides as hot as these two?

Arriving in the master bedroom, Manuel discovers the owner is a collector and most of the artifacts will remain with the property, including a mounted piranha with sharp teeth. Yes, vampires do love the big bite and prianha are the pit bulls of the water.ep1Picture 7

Manuel comments on a wall hanging that displays protruding buttocks. Brazilian, he suggests. Amira mentions an academic article Manuel wrote on a nocturnal tribe in Brazil that “stayed up all night practicing sadomasochism,” she recalls with a seductive eagerness in her voice. Manuel tells her the information came from a local priest. She wants to know if the man of God exaggerated the part about the orgies.

“I don’t know,” Manuel answers, seemingly lost in the direction of the conversation.

“Someone should be practicing sadomasochism at night,” Amira suggests and looks at him with a leering wantonness.

Later, this story will have a priest of its own and he will certainly not frown on orgies.

The scholarly Manuel goes into another room that has a stretching area typical of ballet studios. A shiny wood floor and a wooden bar attached horizontally to the wall dominant one wall. Above the bar is a painting of a woman, head thrown back like the statue downstairs, hair wildly tossed in the throes of ecstasy. Her navel is prominent: the center of the world, the site of birth and rebirth, a rejection of death.  Her hips are broad in a goddess-like sexual expression found in ancient cultures.

The painting will lord over the pure rough sex that is soon to take place.

The omnipresent Adrianna suddenly appears out of nowhere, bending over in a stretch that puts hand on ankles. IMG_8607

She looks at Manuel through her legs, a world turned upside down. Adriana experiences the scene for what it is: a reverse reality, everlasting life in a demonic existence that will stalk Manuel.

Standing in front of an expansive mirror common to ballet studios, the anthropologist sees his reflection and the painting and bar opposite the mirror. He is the only person in the room. As if unable to see clearly, Manuel takes off his glasses and cleans them.

Amira apologizes for the out-of-order lights in the rest of the house, deflecting Manuel’s concerns by commenting that he looks older than the picture on his book’s dust jacket.

“Well, don’t we all get older?” he says. Not in the world vampires, my friend.

Amira drops her eyes and takes his left hand. Visions of the ensuing sex flash across the screen with the haste of an ethereal vampire. Their left-handed clasp becomes more sensual; her fingers knead into his hand as their grip tightens. The left hand in most cultures is related to the functions (pleasures for Freud devotees) of the human anus, a precursor in this case of what will satisfy these undead women.

Amira stares at Manuel with a stalking lust, he’s clearly bewildered. They kiss wantonly, initiating the roller coaster ride of fantasy and reality that is to swirl through a huge sexual orgy.

Adrianna swiftly jumps Manuel; vampires move with lightning speed. Amira circles them on all fours like a lioness preparing her prey.

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Bram Stoker never would have imagined his brides of Dracula would be resurrected in this way.

The sex scene to follow goes full circle. At the beginning the girls use Manuel as a conduit for their sexual pleasure. They dominate him. Later, the power exchange shifts when Manuel gives the orders.  There is breath play as the throat is a continuing image in the orgy. The oral sex is sloppy with copious amounts of saliva dripping and running throughout, an interesting visual contrast to the sleek, sparkling floor of the studio and the minimalist furniture in it.

One moment in the scene is noteworthy because of a cinematic counterpoint that happens later. Manuel is sitting slightly raised above the floor; Adriana is kneeling on the seat of a chair so that her buttocks are positioned in front of his face. Amira climbs behind him on the back of the low standing chair he occupies and reaches for Adrianna’s face. The latter arches her back (remember the satyr?) thrusting her breasts upward. The two women are kissing, positioned above Manuel.  The imagery is the flower of female sexual totality. These vampires lust for Manuel and triumphant over him while enjoying each other equally.

Episode1_057Incidentally, on the back of Manuel’s chair are large brass balls. Amira’s particular penchant for oral play is appropriately nuanced with these images as she positions herself to reach out to Adriana.

During this encounter, Manuel glances to his left into the mirror. He sees himself alone, masturbating. This is fantasy sex with its own unreality, or is it?

Later, the women will kneel in front of and behind Manuel to simultaneously satisfy him orally. This is the reversal of the above scene and the earlier power exchange. Cinematically, Stagliano divides this frame into thirds, as he did the other image, centralizing the sex.

As the orgy of oral and anal sex continues, at one point Adirana is in a cowgirl position and Manuel grabs her breasts, squeezing them in a form of breast bondage, almost lifting her vertically. As she throws her head back, recollections of the nocturnal tribe move into play.

When the scene finishes by circling back to the beginning, the fangs come out. Amira moves to kiss Manuel who is lying on a couch, almost unconscious. He is a double puncture away from immortality, an offering to the ancient succubus of the night.

We will later discover there is a shortage of men in this crazy conspiratorial vampire world.

“What the fuck are you doing?” Adriana shouts.

Amira growls in Adriana’s face, her fangs sharpened. Manuel is languishing in his trance.

Adriana grabs Amira’s throat, taking over the scene. She throws a suddenly alert Manuel his clothes and tells him to get out. He is swift about it.

The viewer may feel the same way, but who can resist the salacious anticipation of what’s to come. The seduction of the second episode is already beginning

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