Tag Archives: Daddy’s Girls

AEE 2017: Kasey Warner

by Rich Moreland, February  2017

My thanks to Girlfriends Films for providing some of the photos in this post.

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Talking with the stars of films I’ve reviewed is always a treat. At this year’s Adult Entertainment Expo, Kasey Warner fell my way, an expected surprise.

A text and a meeting at the AVN booth led to an interview after her signing time.

I’m interested in Kasey’s perspective on B Skow’s Color Blind, a film that was nominated for Best Drama, Best Director, and Best Screenplay at this year’s Awards Show.

She plays an unsighted girl who falls in love with a man of color.

To read my review of this socially significant film, click here.



I Can Hear Your Voice

I asked Kasey how she prepared for her role.

“B Skow sent me some clips of a girl on YouTube and said study her videos and pick up on her mannerisms so you can play a convincing blind girl,” Kasey remembers.

At first, this adorable brunette realized that the YouTube girl wasn’t doing the things that seemed “stereotypically blind,” something she would have to take into consideration in her acting.

“At the beginning of filming I was trying to portray a blind person as blind people actually are, but then as it went on, [I started] doing the things that people do when they act blind.”

She references her eyes shifting around, for example.

Skow picked up on her mannerisms, understandable because he directed Maddy O’Reilly in Daddy’s Girls who also plays a girl without sight.

Kasey recalls his reminder, “‘Don’t look at people in the eyes, [because] you can’t see.'”

It was a struggle at first and she remembers telling Skow, “I can hear your voice and I can center my ears to find your voice. So it’s kind of hard trying to find a medium between a realistic blind girl and a girl that people could watch and say, ‘Oh, she’s blind.'”

But, she pulled it off!

Feeling it Out

The opening scene in the kitchen sets the tone for a powerful film. Were the scenes shot in lockstep with the screenplay?

“That actually was the first thing we filmed. I don’t think every scene was filmed in chronological order, but I do think that the team tried to have it that way because for professional actors it is a little bit easier to go through the movie and kind of feel it out as you go,” Kasey replies.

“By the second day I was is in the groove of a blind girl,” Kasey notes with a smile.


And that was no mean feat.

“When you’re shooting a porn movie you don’t get as much time to practice,” Kasey explains. “You don’t have a table read, you don’t have run-throughs. So I definitely felt like as it went on I got more into my role, so that was good.”

No doubt, her performance is impressive.

Not Typical Gonzo

Kasey’s sex scene with Isiah Maxwell is far from a gonzo shoot. There’s a gentleness in it.

How did she balance being sightless and romantic at the same time?

Isiah Maxwell

Isiah Maxwell

“I was obviously already in the character and I love Isiah. He’s the sweetest guy in the world so it’s not hard to have him be my boyfriend and be all lovey-dovey with him.”

Because of her character’s circumstances, “each scene is a whole new experience” for the girl, Kasey says, and “I was able to use that to make it seem like it was new for me.”

In other words, her scenes had authenticity.

I suggest that losing virginity in the real world is hardly a romantic experience.

Kasey concurs.

“I read one review where they didn’t like the sex scene and I understand that because it’s not your typical gonzo scene and it’s not me riding like a crazy person. I am a blind girl from a sheltered racist family losing my virginity. It’s supposed to be kind of scary, timid, and very emotional and romantic because that’s what it is.”

Adriana Chechik

Adriana Chechik

Fans should understand that portraying a certain character does not mean every sex scene is an Adriana Chechik scene, Kasey points out. (Adriana plays her sister in the film and was voted AVN’s 2017 Female Performer of the Year).

She says fans often want gonzo “to be every scene” but her character’s situation doesn’t lend itself to that. “I’m not going to be on top, doing crazy stuff like ‘choke me, Isiah!'” Kasey laughs.

Filming with Skow

“I love shooting with B Skow because he allows me to do scenes that aren’t just, ‘Be my Stepdad, Again!’ It was really nice to be able to shoot a movie that really had some meaning behind it,” Kasey says.

Picking up on Color Blind’s theme, this East Coast girl remarks, “It was nice to do an interracial movie where the whole point is that we’re all the same.”

The idea is important to Kasey because she was on board with IR shoots as soon she entered the industry. It seemed natural to her, but she was in for a surprise.

“I didn’t know that some girls hold out on that.”

But no matter. Even if she had been aware of not doing everything right off the bat, Kasey wouldn’t have changed her approach to her career when it came to IR.

“It’s dumb to discriminate. The whole point of me being blind is I can’t see color so I’m the girl who says, ‘Why shouldn’t I have sex with this guy, I love him. He’s great.'”

At this point, Kasey interjects that too much of interracial porn is gonzo-centered, just another white girl banged by a black guy. “Usually it’s like, ‘Woo, you’re my black babysitter!’ I don’t know, some dumb stuff [like that].”

Focusing on Emotion

I’ve reviewed enough B Skow films to understand his intensity and his endearing maverick status. I explore this idea with Kasey.

B Skow

What makes Skow such a spirited and impassioned director?

“He refuses to adhere to what porn says he should do to make the most money. He’s not going to shoot the most generic, asinine thing just because ‘Big Butts 37’ is going to sell more than a politically, racially-fueled movie with a message,” Kasey says.

“He  really cares and he doesn’t care that some people might not like it. This is what is important to me. It’s nice to shoot with directors who are passionate [about their work],” Kasey explains.

“That allows me to do a good scene because it’s hard for me to care if the director doesn’t.”

My final question on the film concerns its shocking finale.

Because her theater experiences in her student days enables her to feel empathy for the characters she plays, Kasey is good at focusing on emotion and that showed up as the film closes.

But there is more. Kasey praises Steven St. Croix’s portrayal of her racist father. His intensity created the energy she absorbed to enhance her performance.

Steven St. Croix. Photo courtesy of AVN media

Steven St. Croix.
Photo courtesy of AVN media

Were her tears spontaneous?

“Yeah. I was like it would be cool if I cried but I didn’t mean to. But the emotion was building up, I let it happen.

“The PA had to leave the room because he was going to start crying. Because there was so much emotion, I garbled through the speech a little bit. I was glad they were able to get the crying and the speech through editing.”


Kasey and I are from the same part of the country, just outside Washington, DC, a continent away from LA. This interview is like old home week for us so I inquire about her background.

What motivated her to go into porn?


The school she was attending had a stem program (science, technology, engineering, math), Kasey explains, but it was not for her.

“I’m not really into any of that. I just went there because they gave me a big scholarship.”

She didn’t much care for her classes.

“I wanted to pursue a culinary career or get a degree in sexology and study human sexuality professionally.

“So I’d be sitting in my room just watching porn—not masturbating or anything—thinking this is really good porn, you know, just appreciating the cinematography and the acting. It occurred to me, ‘Hmmm, that’s an actual job that people have. I’m eighteen, a young cute girl, I could do that.

“So I just packed up and moved to California and started working.”

Aren’t we glad she did.

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Daddy’s Girl 95, Part Two: To Be a Good Girl Again

by Rich Moreland, September, 2015

With the Daddy’s Girls series, B Skow employs his Progressive Porn framework to explore a well-scripted vision of irony and self-deception. By weaving the story around psychological dynamics, he examines a sexual fetish that is often quickly labeled without being well understood. Skow succeeds by focusing on the allure of the daddy complex that draws men into relationships with willing younger women. The results can disrupt and restructure families, changing the interactions of step relatives and opening up an array of sexual options that challenge our definition of what is acceptable.

Having said that, here’s the summary of my interpretation of the Daddy’s Girls saga as it stands now. This analysis is only one way to look at these intriguing films and I encourage you to watch them and reach your own conclusions.

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The director at work. Photo courtesy of AVN

B Skow
Photo courtesy of AVN

The Illusion

Quincy is bedeviled by her identity and her own fetishes. Emotionally crippled by her daddy complex, she compensates by being a faux prostitute while denying such a label would ever describe her.

Before her sex scene with Marla, Quincy screams “Why?” in a self-indictment that begs her to be a “good girl again.”

Quincy’s conundrum shows up repeatedly. She loses her Goodneighbor51 customer when Samantha’s father Dale passes away. With a dose of  twisted irony, Skow tells us Dale was Quincy’s real father who masturbated to his daughter’s naked performances.

Later Quincy learns that Mr. Jefferies is also an online voyeur, another “daddy” customer, and offers him sex under the auspices of doing it for Bob. As we have seen, it becomes a threesome in which Marla, the true angel of the tale, quiets Quincy’s demons by also giving herself to the boss.

And don’t forget the unethical Tom, who uses his profession to “persuade” Quincy to act out her daddy desires with him. Just put his name on the list.

At no time until the final minutes of the film does Quincy actually stare down her internal torment, her longing for sex with Bob. Lost in a morass of daddies, the real perversion is Quincy’s forced sex with her own father, Dale, in the first film. It’s done through her own volition, a deliberately controlled moment in which Quincy bullies every metaphorical “father” who has left her fetish wanting.



In effect, Skow tells us Quincy’s behavior is really self-loathing generated by her inability to control her demons.

Because Quincy refuses motel sex with Goodneighbor51 and the prostitute label that goes with it, she violates Samantha in response to his demand for a show. Captured on her cellphone, it’s her own sister Quincy unknowingly ravages for her father’s entertainment. It’s Dale’s family, not Bob’s, that is plagued by the incestuous carnality of the narrative.

In the end, Quincy wears her own mask. How do we know? She pleads with herself “to be a good girl again.”

The illusion of Daddy’s Girls 2 collapses in that instance. Quincy, who has traded a Biblical “eye for an eye” with Samantha–the sadly misguided righteous angel at the end of the first film–finally seeks genuine redemption.

What confronts Quincy is a harpy in an orange prison jumpsuit, a blind girl incarcerated for her own evil deeds, that stands between her and peace. The irony? It’s Quincy’s own sibling that tortures her, a part of herself revealed in a creepy hand dawn picture in a bedroom that now seems so far away.

Siblings in better times.

Siblings in better times.

Like school girls on a playground, Samantha taunts Quincy with a repeated chorus of “you fucked your father,” the never to be forgiven sin.

The Real Daddy’s Girls

So a story that began in contrast, ends with similarity. Quincy is partially blinded and Sam has no vision. The bright airy colors of the first film that stood for hope and happiness are gone in the second.

Are Sam and Quincy the real daddy’s girls after all, sisters now devoid of a father?

Not quite, because Daddy’s Girls 2 offers up a positive message.

The prostitutes Marla and Oralee, honest and caring, are the real Daddy’s girls, metaphorical “sisters” and professional fuck buddies in their own right. To put it another way, whoredom holds no deception. It hasn’t throughout history and it doesn’t here. As mentioned earlier, Marla and Oralee serve as the Greek chorus, commenting through their actions and words on the truth behind the façade Bob structures to excuse his Lolita fascinations.

Quincy’s redemption is to join them one day, at least in the spirit of their humanity.

Quincy becomes one.

Quincy becomes one with Marla and Oralee.

The Dance of Deception

The Daddy’s Girls saga exists on several levels.

First we have the biological sisters of Samantha and Quincy, both fathered by Dale.

Marla and Oralee represent a second level. They are Bob’s prostitutes, sympathetic figures in serving his perversions albeit for pay. Unlike Samantha and Quincy, they “see” the truth and aren’t afraid to express it, as we have noted.

On a third level, Daddy’s Girls is about younger women and older men, the May-December duality. Skow’s comment on these arrangements is terse. Sometimes they are a forbidden test of faux incest that can be exciting if acted out in the manner Quincy seeks. At other times, the pay-as-you go arrangement Bob establishes with his hookers serves up the sexual menu.

And, don’t forget to include Marla and Quincy in the mix. As step relations in a dysfunctional family, they lend some legitimacy to the combination of mother/daughter and as age contemporaries, a pairing of sisters. Are they the real daddy’s girls, after all?

Closely related to the age play is simple lechery illustrated by two power players: Mr. Jeffries, the boss whose fantasies are fed via webcam and Tom the therapist jacking off before screwing his patient . Oh yes, remember Dale, DaddysGirl95 customer? He joins the group.

indexAll things considered, B Skow leaves the viewer with a final level. Everything sexual is a fantasy. We conjure up whatever amuses our personal fetishes.

Simply put, deception dances everywhere and everyone wears a domino mask just like Carnival party goers centuries ago.

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As I did with the first film, I have waited until the final installment of Daddy’s Girls 2 to salute the performers who brought the script to life.

Riley Reid, Maddy O’Reilly, and Alec Knight reprised their roles as Quincy, Samantha, and Bob.

Capri Cavanni is marvelous as Marla as is Kassondra Raine as Oralee. They are the unsung performers in the film.

Anthony Rosano (Tom) and Ryan McLane (Mr. Jeffries) are widely recognized in adult entertainment for their acting acumen, reliability, and on-screen adaptability . . . true veterans in every sense.

A final nod goes to B Skow for elevating these films to art. Unfortunately the original Daddy’s Girls made in 2013 was not recognized with industry awards. Here’s hoping the sequel avoids that fate.

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Daddy’s Girl 95, Part One: The Goodneighbor

by Rich Moreland, September 2015

This is the wrap up Daddy’s Girls, a product of Girlfriends Films and director B Skow. As I indicated with the first installment, these posts represent only one interpretation of a film that is far deeper in meaning and imagery than I’ve touched upon here.

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Jerk off Babe

Bob’s daughter Quincy uses her Daddy’sGirl95 avatar to promote her webcam identity as a “jerk off babe.” Posing as “barely legal” with her schoolgirl outfits, Quincy is hardly a juvenile and shows a biting nastiness that festers beneath her daughter facade.

Like the film itself, Quincy is hard to pin down. She tells her mother to “fuck off” and sweetly talks to her daddy.  She is the personified bully who verbally assaults Samantha, “you took my daddy now I’m gonna take you . . . you shouldn’t take what isn’t yours,” before sexually ravaging her. The whole show is live on Quincy’s cell phone for Goodneighbor51’s pleasure.

On one hand, Quincy mirrors the dysfunctional families in this charade while challenging their character on the other. She is noticed, yes, but too often dismissed with the hope that she will blend into the background like the pastel imagery that surrounds her.

As the story progresses, Quincy increasingly orchestrates the action, particularly in the final sex scene with Dale whom she believes to be her biological father. It is a metaphorical revenge “killing,” so to speak.

She accuses him of being “the pedophile that’s been jacking off to his best friend’s daughter,” reminding Dale he’s now had sex with his best friend’s wife and daughter. Essentially, Quincy sees herself as a daughter of two fathers, one she desires and the other she loathes. It’s ugly in tone, like her taking of Samantha.


Quincy and Dale

Quincy and Dale

Overcome with wrath and punching Dale into unconsciousness, Quincy is immediately remorseful and calls for her “father figure” to come to the rescue.

Conveniently, the mask-wearing Bob is in the adjacent bedroom, doing the deed with his hired playmate Marla. Earlier in the film when he was having performance issues, Marla put on sunglasses, called him “daddy” and his arousal skyrocketed. No problem, covering the eyes covers the perversion which is also “covered” in her bill. Everyone pretends and “sees” nothing.

On the surface, the contrast between the daddies is obvious. Bob remains healthy; Dale is dying. But the rest is muddled because both daddies are sexually tainted. Both desire younger women with Dale’s being the online variety while Bob can’t let go of his lust for Samantha.

On the other hand, Quincy’s longing for Bob, whom she knows is not her real father and therefore fair game, won’t go away. To complicate matters, he is the manifestation of the larger “Father Complex” for both Samantha and Quincy.

Both girls are a contrast of desire and anger. Sam directs her disgust toward Bob for abandoning her and bitterly reminds him that she wore knee socks and called him daddy when they did the dirty. Quincy, as pointed out above, takes out her rage with a father rape of sorts driven by Dale’s past dalliance with her mother.

Odile and Darla Crane

Odile and Darla Crane

In the meantime, Dale’s wife Iris (played by Darla Crane) finds the “jerk off babe” and her unwilling and unsighted playmate on his phone. . . a secret revealed. Devastation follows and she rushes to Gina, Bob’s wife (played impressively by Odile), for solace. To soothe the moment, Skow throws in a MILF scene between two well-respected adult veterans.

Seeing Everything

In the closing scenes of the film, the families gather together and there are apologies all around. Sincerity floats over the room, but doesn’t really land anywhere. This sorry lot is a collection of “masks” vainly trying to make things well enough to survive. Quincy becomes the chastened child and the other “adults” lamely tuck away their past temptations to bask in the bright patio gathering.

With cane in hand, Samantha, the narrative’s emerging avenging angel, excuses herself. Wearing an actual mask, her sunglasses, she remarks that she “sees” everything and everyone can do better than ask forgiveness. It’s a criticism that carries religious implications.

On the set for Bob and Dale in hopeful reconciliation

On the set for Bob and Dale in hopeful reconciliation

Dale and Bob reconcile with Dale pontificating about their relationship, telling Bob to step up and become a father by abandoning his mask and self-pity. Bob is properly contrite, giving Dale a pass he doesn’t deserve. Dale has his own concealed perversion as Quincy’s Goodneighbor51 customer who suggests she meet him at a motel or give him a show. Quincy, who hides behind her online facade, opts for the latter and, as mentioned above,  sexually attacks Samantha for his entertainment, not knowing who he really is. Of course, circumstances now reveal the Quincy/Samantha scene to be an outright perversion between sisters, but no one seems to quite get that.

But who are the girls, really? Biological daughters incestuously entertaining their father (Dale) or metaphorical possessions of a Lolita freak (Bob)?

Always Close the Window

In the final scene, Bob tucks Quincy into bed as a father would his little girl. In contrast to Samantha’s single bed, unwelcoming to a partner but subject to violation, Quincy’s is a double, an invitation to just about any “daddy” or “mom” as we will see in sequel to this classic, Daddy’s Girls 2.

She asks Bob if Samantha or mom will ever forgive them. He responds with “sometimes you just have to live with things,” a sharp lesson Quincy will learn in the next film. Preparing to let her sleep, Bob mentions she’ll be going to the facility in the morning, implying this her last night with her parents.

The bed is awash in pastels, pink, brown, green, blue, soft colors, typical of Quincy, a sinful little girl blended into the landscape like the title frame at the film’s opening.

Before he leaves, Bob asks if he should close the window. Quincy wants to feel the breeze, she says. Folding her hands in a prayerful mode only St. Agnes could truly appreciate, Daddy’sGirl95 is likely hoping for a “do over” in the manner of kids on the playground who haven’t grasped the meaning of disappointment and failure. With eyes closed, her smile is sweet and innocent.

Like Samantha who earlier lay awake in her bed, Quincy now is waiting. But imagery takes an odd turn here. Quincy is transformed into the peaceful resolution of a corpse in an open casket funeral. Perhaps it is fitting, after all . . . metaphorical death and resurrection await a new more visible mask.

The camera pulls back a bit and the open window appears to the right. A knife is laid on the sill, then a cane. After a pause, a with face concealed by sunglasses emerges from the night riding a most evil cool breeze.

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The cast of that brings to life this fabulous film.

The cast of that brings to life this fabulous film.

I deliberately left out the identity of the central actors who raised this movie to perfection, preferring instead to honor them at the conclusion of this analysis. They are Riley Reid (Quincy), Maddy O’Reilly (Samantha), Alec Knight (Bob), and Evan Stone (Dale). As referenced above, they are ably supported by Odile and Darla Crane. Rarely in an adult film does a combination of performances mark such excellence.

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Daddy’s Girl 95, Part One: The Scream

by Rich Moreland, September 2015

Our interpretation of Daddy’s Girls continues with a look at imagery.

For clarification, my thanks to Girlfriends Films for providing the stills used in this series on Daddy’s Girls and Daddy’s Girls 2.

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Two Faces

B Skow is no stranger to color and in Daddy’s Girls he uses pastels to underline his themes. Take a look at the drawings in Samantha’s bedroom.

On the wall above her nightstand are hand drawn dual faces looking straight ahead (as does the visually disabled Samantha). Incidentally, her bed is a single, room for only one, an ironic contrast to Quincy’s which we will see later. The bed is, however, angled into the corner like a phallus in the act of penetration, a comment on Samantha’s still active sexual desire.

Samantha and Quincy and the Faces.

Samantha and Quincy and the Faces.

The faces are of the same girl. On the left, she has eyes without pupils; on the right, her eyes are animated and her expression is surrounded by a cut out background that could pass for a nun’s wimple and veil.

The first face is stiff, lifeless, and creepy; shadowing and colors light up the second. Both have the same enigmatic smile.

Shades of yellows and muted blue-greens shape the room. Of interest are the pictures to the right, mountings covered with a dark cloth or shroud, a reminder of Samantha’s pain and her suicidal thoughts.

More broadly, the faces are indicative of the story’s message. In order to “see,” the characters must break through the collective pretenses that hide their secrets and perversions. Discarding the masks they present to others, the first face, and emerging from a cesspool of lies and feigned affections, the second face, is the heart of the Daddy’s Girls saga.

As an added touch, Skow positions Samantha’s cane and sunglasses under the pictures to remind the viewer that she is the only person who really “sees.”

And a Mask

Bob’s daughter Quincy has her own mask behind which her fetish thrives. She leaves a note in the bathroom for him, “I love you daddy” with the word love illustrated with a heart. It’s drawn in the manner of a four-year-old with the sun, stick figures, a tree, and a house (an arrow points from “daddy” down to the house).  The swing set is a clever addition to lure daddy into extracurricular sex (remember Freud’s assertion that a girl who dreams of her father in control of motion, such as pushing her in a swing, has undeniable sexual implications).

The Note

The Note

Discovering the note, Bob slips it back under the mirror and looks at his reflection. Placing his fingers over part of his face, he leaves space for his eyes as if he were wearing a mask, which of course he literally does at times throughout the film.

Skow informs us that Bob puts on a theatrical domino in his play acting sex because of all the girls Bob carnally explores, not one is an actual daughter. To be a Daddy’s girl means to be young. Bob’s Lolita fetish is more a May-December sexual shenanigans illustrated by flings with hookers and his impending marriage in Daddy’s Girls 2. Both films are spin-offs of fauxest (phony incest) with Bob the big dog of the action.

Bob behind his own mask.

Bob behind his own mask.

When he has sex with his prostitute Marla, Bob dons his costume accessory and she wants to know who he really is, though by this time the fetish has become a part of the routine. Quincy comes up in conversation and Marla assures Bob that some girls have a daddy complex. Quite true. In psychoanalysis, Freud called it the “Father Complex” and used the Oedipus and Electra versions to sort out the difference between male and female sexual longings. Modern thinkers associate Freud’s ideas to “Father Hunger” in which the daughter seeks affirmations to boost her self-esteem.

The mask, however, exists on more than one level. It can hide illicit sex and Bob’s Lolita hang-ups, but it’s also the calling card that links Bob with his Samantha substitutes.

Ironically, when he is with Samantha he has no need to wear his mask because she cannot “see” him for what he is, or so he hopes. To put it another way, she is hidden behind a veil of blindness which weakens her resistance. As a result, Bob bears responsibility for wrecking her emotionally. His selfish desire to sate himself at her expense is itself a mask.

Using Marla as a sympathetic ear, Bob confesses his affair with Sam. “Does your friend know?” she asks, speaking of Dale. Bob says no, whereupon Marla asserts, “I bet she tried to kill herself.”A semi-panicked Bob denies that insight, but later concedes the homecoming party for Samantha will be difficult because he still lusts for her.

The scene enhances Marla’s role as the unofficial “therapist” in this first film (there will be a supposedly real one in the second).

“I think I have just what you need,” she says, and pulls out her sunglasses.



“Hi Bob, remember me?” Marla caresses his face with her fingers, he calls her “Sam,” and rough sex follows.

This scene sets up the rest of the story, establishing Marla as a voice of honesty in a role that reflects the Greek chorus used centuries ago to accompany the audience through a drama. She emerges as the story’s most admirable character. There is another in the second film, the prostitute Oralee who becomes the new hostess of Bob’s sexual obsession when Marla’s status changes.

The Scream

At times B Skow blankets the film’s brilliant colors with shadows to cover the secrets that mute the joy of Samantha’s return. After he learns his friend Dale has incurable cancer, Bob lies awake in bed. Beside him is his wife Gina, face packed in neon green mud (her personal mask). He is on his back; she on her side. Both are in shadows broken by stark lighting and have tears of guilt running down their cheeks.

Each has broken a trust in the name of the illicit.

There are companion shots of Samantha lying awake, fixated straight ahead with a softness that combats the chilling rigor mortis of her personal tragedy, and Dale in his bed, trying to negotiate his own mortality.

It is a masterful, powerful moment in Daddy’s Girls. The contrast of color and light is strident while contradictorily embedded in silence. Skow wants the viewer to feel the isolation of each character, a reminder of the Expressionist terror of Edvard Munch’s The Scream.

The Hookah

The irony of Daddy’s Girls is that the characters have allowed themselves, by way of their oxymoronic voiceless screams, to be put where they are. As Dale tells Bob when he first discovered Samantha’s suicidal tendencies, “You know Sammy . . . keeps everything inside. I never know what’s going on with her.”

Amid this selfish and grasping account of smug perversions, everyone is hiding something. To borrow a thought from Swiss psychologist Carl Jung, an individual’s public persona and his inner shadow represent the contrasts between what we see and what we don’t in ways that are counterpoints of each other. Skow uses shadows and light to illustrate Jung’s insight.

Yet there is an exception. Quincy is not in shadows in her bed. She’s too busy with her webcam, masturbating in front of her computer. Of all the players in the film, she is the most complex, a temptress who is abused, a controller who is also a beggar. Her colors are subdued pastels and she dresses to play her part: a little girl in knee socks, pigtails, and shorts. Nothing seemingly harsh for maybe the harshest character who by her very nature hides nothing . . . except when the computer is on.

The Harem

The Harem

One final note before we move to the last installment of Daddy’s Girls. A painting shows up periodically throughout the film. It appears to be a Victorian era representation of an Eastern harem, naked women gathered around a pool with pleasure devices on hand. Appropriate because there are characters in this story who would prefer simple frivolity and the soothing water of the hookah.

Everyone would feel better if they could only blow a little smoke into the illusion that is Daddy’s Girls.


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Daddy’s Girl 95, Part One: The White Cane

by Rich Moreland, September 2015

Daddy’s Girls is a brilliantly scripted classic in a film genre that often minimizes the depth of its artistic talent. The director is the incomparable B Skow. The story is the work of David Stanley.

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Daddy_s_Girls_5240c56d5c6fdNever reluctant to push the envelope with new ideas, Girlfriends Films is widely recognized as a company on the cutting edge of adult film. According to the company’s September 2015 newsletter, filmmaker B Skow is introducing an adult film innovation called Progressive Porn. Part of this game-changing experience is Dogme 69, a cinematic movement that began twenty years ago with Danish filmmakers. Emphasizing the traditional value of theatrical performance centered on well-constructed themes, the film making style minimizes special effects while elevating storytelling. In other words, make it clean in the manner of a bygone era when superb narratives and the acting that energized them ruled the day.

Characterized as “a new style” that promotes “intellectual, story-driven, anti-blockbuster features,” Skow’s Progressive Porn is stepping up in an industry that recently lost one of its pioneering film makers, Candida Royalle, who helped to shape the feature as we know it today.

What drew me into the Progressive Porn loop was a single word: intellectual. But then again, I knew this about the soft-spoken Skow, all I needed was an example of the depth he could achieve with his artistic eye. My nominee? Daddy’s Girls.

As a result, this post and the ones that follow are less a film review than an analysis and a partial one at that due to the limits of space. I have only touched upon the many complexities this film presents.

For reviews of Daddy’s Girls, I encourage the reader to look at Jared Rutter’s excellent commentary for XBIZ and a similar article posted by AVN. A synopsis of the story is also presented on those sites.

I’m not a Prostitute

Daddy’s Girls is a tale of counterpoint and contrasts that begins with the title and the small matter of the apostrophe. Obviously a daddy has more than one girl. Bob has a daughter Quincy and Dale has one named Samantha. Do both daddies have more than one daughter? Possibly and here’s why.

The story is a maze of probabilities encircling two girls of next door neighbors. The first, Samantha, cannot physically see but apparently “sees” pretty well, retaining the last fragment of honesty in a saga of two morally bankrupt families. The second, Quincy, is an immature Lolita-type whose childish sassiness and pouting conceals her very grown-up sexual fantasies. To be fair, both girls are plagued by past events they cannot escape. They are victims more than victimizers, itself a disturbing contrast.

Quincy as Daddy'sGirl95

Quincy as Daddy’sGirl95

The narrative leaves the viewer with a morass of secrets, adultery, and pedophilia. Bob seduces Samantha (the reason she tried to commit suicide and was sent away), and is haunted by the forbidden concealed with sunglasses and, as we will see, pigtails and plaid skirts. Marla, Bob’s reason for “going to the office,” brings out his fetish in their pay-as-you-go rompings (Bob and wife Gina have long ago abandoned each other emotionally), but more on that later.

In the meantime, Dale is naturally protective of Samantha. However, under the online account of Goodneighbor 51 he is getting off on Quincy via her webcam avatar, Daddy’s Girl 95. She, of course, doesn’t know this particular fan is her neighbor. If that doesn’t muddle the story enough, Quincy believes she is sired by Dale (her mother secretly confessed her affair with him years ago) and raised by Bob.

Denials are everywhere. For example, Quincy’s mother rails at her about the webcam to which Quincy retorts, “Fuck you mom.” When Bob intervenes, Quincy whines, “She called me a prostitute.” Later when online with “51” who wants to meet her at a motel, she proclaims, “I’m not a prostitute.”


The White Cane

When watching this movie, pay close attention to the opening shot of the title frame. There’s enough information in it to prepare the viewer for a sordid tale.

Iris, Dale’s wife, is bringing Samantha back from the facility, her home for the last three months. The car is traveling a straight country road toward the viewer. Presented in one-point perspective, the road’s narrow top half represents the past with the wider bottom part the present.

In the upper left hand corner is the film’s title positioned closer to the past than the present. It’s blended with the landscape, almost unnoticed so as to be missed, unrecognized like the traumas of Daddy’s Girls. The shot is colorful and bright, a contrast to Samantha, whose vision is silenced.

Incidentally, there are two primitive borders along the road’s left side. One is a series of landscaping posts driven into the ground, the other a stony path. They are also in perspective and divided by a fence, as the two families are likewise separated. The posts are phallic symbols penetrating mother earth and the pathway is the illusion of affection that creates.

Samantha arrives home.

Samantha arrives home.

When Samantha arrives home, she is seen walking a path with her “white cane” in hand, sight for the unsighted. The landscape is splashed with vivid hues to remind the viewer that Sammy’s perception of color and its energy is internal.

Bob in Samantha's room "welcoming" her home.

Bob in Samantha’s room “welcoming” her home.

Later Bob has sex with Samantha as a “renewal” of their past lustful encounters and the cane becomes another post-like invasion. Rather than guide Samantha, Bob uses the object to penetrate her, first requiring that she lick the tip to ready it for action. Her external dependency becomes her internal stimulator.

By the way, Samantha strikes out at Bob before weakly succumbing to his advances. “It’s just like old times,” she says, “you’re disgusting” and reminds him he took her virginity while she slept, then “rewarded” her by ending their affair. Despite protestations, she craves the sex just as she will do in the second film.

Thus the conflict of the seen and unseen in Daddy’s Girls is announced via contrast. But to get the proper picture, juxtapositions must be further illustrated.

That takes us to second installment of this analysis.

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