Tag Archives: David Stanley

Daddy’s Girl 95, Part Two: Horny Daddies

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.

Bob's cover

Bob’s cover.

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?”

Oralee

Oralee

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.

The threesome.

The Threesome.

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.

Sister-Stepmom and daughter ready to roll.

Sisters or Steps, take your pick, ready to roll.

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.

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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.”

Perhaps.

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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