by Rich Moreland, September 2015
This is the second segment on Daddy’s Girls 2, a Girlfriends Films production directed by B Skow and written by David Stanley.
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The Villain and the Hooker
Is Bob the real deviant in the saga of Daddy’s Girls? His new prostitute Oralee thinks so because she tells him in the concluding scenes, “You’re not the good guy in this story, Robert. You’re the villain. You just don’t know it yet.”
Unlike Marla before her, Oralee dresses for the schoolgirl role with Bob. Knowing the drill to satisfy his fetish, she shows up in pigtails, knee socks, and plaid skirt. She gives him his mask, calls him as “daddy,” and gets him aroused.
Despite his disdain for Oralee (he refers to her as a receptacle for his manly jollies), Bob knows she is discrete, to be used when convenient.
Unfortunately, he has gotten himself into trouble for physically attacking Quincy’s therapist, Tom, who uses his patient’s father fetish (“you don’t have a father, you have a pimp”) to cajole her into “treatment” for his own pleasure. Of course, Tom validates what Quincy’s remaining intellectual left eye (her blinded right one represents affection) refuses to “see.” Isn’t she also a prostitute of sorts?
After dealing with the police, an emotionally bedraggled Bob calls on Oralee to sneak him back home and she doesn’t let reality go unnoticed, asking him a question with a double meaning. “Do you know where you are right now? In your driveway with your hooker who just picked you up from jail. You’re not father of the year . . .you’re just a bully.”
The gutsy harlot is just getting started, hammering Bob with his daughter is a “grown woman” who just had sex with her doctor and he’s “the one acting like a child.”
Enraged, Bob strikes back. “Don’t talk about her!”
Why? “Because I don’t know her or you don’t have your mask on?”
When Oralee suggests the truth hurts, Bob dismisses her, arrogantly boasting that he has things she’ll never have. Using insults when logic is muted, Bob retreats into what he is, a bully, while Oralee comes through with gold stars.
Mother and Sister
The other prostitute in Bob’s skewed world is Marla, a character in transition as the story deepens. She stands in as Bob’s wife, is trashy enough to turn him on, and offers what he needs most: a grown woman to look after him. Bob obviously appreciates her efforts to legitimate their relationship but he cannot decouple himself from his hooker fetish because Oralee is always on call.
Marla has a further issue. Beyond a wife in waiting, she performs a dual role for her soon-to-be-stepdaughter—mother and sister. In doing so, she’s the best thing that happens for Quincy, who despite Oralee’s judgment, is not quite a grown woman yet.
The complexity of the Marla/Quincy connection steps forward in the sex scene with Mr. Jeffries who, like Bob, is also bully.
“Old Like Me”
At dinner Jefferies recognizes Quincy as Daddy’sGirl95. Good fortune presents itself because he has a promotion waiting for Bob and knows Marla is flirting with him to secure it, but it’s the daughter he wants, not a pay-for-play trollop.
Finding a convenient moment, Jefferies follows Quincy to the bathroom. Shocking her with “all your horny daddies missed you greatly” in reference to her now defunct webcam, he says he knows what she wants, “old, like me.” When Quincy resists, Jeffries says Bob will be fired if she doesn’t give in. It’s quid pro quo, corporate bedroom style.
Her prostitute denial, now lame and laid bare, undoubtedly taunts Quincy’s mind, but is glossed over with a little psychological manipulation. Jeffries reminds her “people don’t change. You are who you are born to be . . . you’re the worst of yourself.”
The words really apply to everybody in this film except two, Marla and Oralee, who are the best of themselves. The viewer will take either one over the other sad souls in this charade of sordidness.
Marla responds to Quincy’s invitation to help daddy, bonding with her future stepdaughter for the three-way with Mr. Jefferies. On the wall behind them is a painting of two young women done in the late Victorian period, one undressed; the other partially clothed. They are sister-like in both age and attitude and illustrate the theme of this second film.
Samantha/Quincy, Marla/Quincy, Marla/Oralee? Take your choice from a handful of “sisters” who have serviced “daddies.” They are all daddy’s girls.
A Slice for Everyone
After the sex, everyone returns to the dinner table. Bob is promoted and a peachy pie is served all around. Quincy, who has now been cut into pieces in a clever reintroduction of the knife that once sliced her, is symbolically consumed by the guests.
Marla quietly motions to Quincy that she has a flake of crust on her chin, right where the cum sometimes lands. A sexual covenant links them now and the audience knows that Quincy will mature under Marla’s tutelage.
Later when Bob discovers the girls in bed together (there is an earlier fauxcest sex scene between them that reinforces Marla’s status as Quincy’s sister prostitute and a mother substitute), Marla pleads for his understanding. “We can be a family,” she says in an offer that elevates her beyond what Bob deserves.
Still refusing to “see,” Daddy stares at his own failures and blames Quincy. “Until we finally fuck, you’re just going to keep ruining my life, aren’t you.” She smiles with the knowledge that if she bends over, Marla will be there to validate her actions . . . in a sexual romp that is not really among kin.
Just as we see in the first film when Quincy beds Dale, who is the bully now?
In this duel of bullies, Bob blinks and collapses, clutching his heart. A cardiac episode, we assume, because Skow has prepared us with a well placed hint. Bob is a smoker.