Tag Archives: Evil Angel

November 28, 2014 · 10:46 am

Under the Radar: Karlie Montana, Part 2

by Rich Moreland, November 2014

Karlie Montana
Photo courtesy of naughtyamerica.com

In the porn business, most shooting falls into two general categories: gonzo or all-sex being the first and features with plot, acting, and high levels of production values the second. Some performers think of themselves as “gonzo girls,” but Karlie Montana values not being typecast. What she does prefer is for director’s chair to relax during the sex scenes, giving the green light to the performers get into each other.

Allow the Sex to Flow

“My biggest pet peeve is when the sex is controlled and directed,” she says. Nevertheless, her work ethic reflects a consummate professional and Karlie recognizes that good directing will produces “the best that is porn.”

As for gonzo, the Arizona native has her own definition that closely mirrors the industry standard established years ago by Evil Angel‘s John Stagliano. It means “free-flowing sex that usually allows you to acknowledge that the camera is there,” Karlie states, adding that the POV (point of view) scenes are some of her favorites to shoot. But her affection for the challenges presented by the feature is never far away.

“As a performer I enjoy shooting features because I love acting and dialogue and a rhyme and reason behind the sex.” “Produced role play scenes,” as she describes them, are particularly invigorating for Karlie. If in doubt, take a look at her performance in one of this year’s AVN nominated films, Shades of Scarlet. She is superb in a finely written and directed story by Mike Quasar.

In truth, Karlie considers herself to be “a Jane of all Trades,” an attitude that ensures steady work. “I’ll give you any style scene you want,” she beams.

The ” Jane of all Trades”
Photo courtesy of juliland.com

A ten-year career is testament to flexibility and an unbridled enthusiasm that splashes across the screen in a Karlie Montana shoot. Take a moment to check the Adult Video News list of nominated scenes for the upcoming 2014 porn awards in Las Vegas. Karlie is honored in two group scenes: Best All Girl Group Sex Scene in Anikka 2 with Anikka Albrite and Dani Daniels, and Best Group Sex Scene in King James with porn heart throb James Deen and superstars Veruca James, Dani Daniels, Maddy O’Reilly and Penny Pax.

Regardless of the porn genre, when the sex starts, Karlie’s professionalism takes over. Her favorite directors “allow the sex to flow,” she says. Simply put, “the people that allow me to enjoy the sex and have real orgasms are the people I love working for.”

Smiling, Karlie applies an exclamation point. “I do love to bounce into the sex!” And she carries her joy to the other side of the camera. As a director, she knows that to get the best out of performers, let them have sex “however they want to.” In short, “give them sexual freedom!”

Easily Bruised

As times have changed, so has commercialized filmed pornography. Today’s adult business has experienced an upswing in fetish filming and Karlie is ready to do her part. She loves shooting scenes with foot fetishes, pantyhose, and rope play.

But what happens when the page is turned to the rougher sex of bondage porn?

“I love bondage! I have shot plenty of it!” Karlie exclaims. No doubt it would be difficult to find a lovelier model to play a submissive role.

Asked about BDSM porn’s giant, Kink.com, the Valley girl admits never having journeyed to San Francisco to lay herself out in their rough dungeon sex. “I’d like to though,” she comments. “Just got to make sure I don’t get marked up (a common concern girls have in shooting at the Armory). I tend to bruise easily.”

Damsel in Distress.
Photo courtesy of antonvideo.com

Karlie does have another concern were she to go to Kink. “I usually shoot ‘damsel in distress’ or forced orgasms because it’s hard for me to submit to people. I usually just start laughing which I was told is a way to try and keep control.” Quite possibly. A popular Kink performer a few years ago used laughing as a way to taunt her Doms, so it is not unheard of and a way of topping from the bottom.

Should the fan watch Shades of Scarlet, Karlie’s scene with James Deen and Skin Diamond, both Kink veterans, is noteworthy. Any sense of reluctance on Karlie’s part as a submissive is muted and her enjoyment of girl/girl action fills the screen.

Finally, this statuesque model comments that she is particularly fond of reality porn, one of the newer adult subgenres that mimics mainstream TV. Allow performers to mix it up and do anything that comes to mind. Karlie maintained her website for XxxFastPass network where she shot her own content along with porn actor, Voodoo, recognized as one of the highest paid men in the business. “Our style was reality porn” which she defines as “uncut and unscripted.”

We All Live on the Edge

Every performer has advice for a new girl and Karlie’s is spot on. Foremost, she wants a porn hopeful to understand that success and survival hinges on attitude. “You don’t have to do anything just because your agent or the business tells you to,” Karlie says firmly. Most often that revolves around rough sex, gang bangs, anal, bondage, and other hard-edged shooting demands. Caution is always advised because emotional ruin can crush a girl whose psyche is fragile.

“There is a career in girl/girl only, so never feel pressured to progress if you’re not ready,” Karlie insists. Her emphasis is on the word “progress” because building a lasting porn career is like constructing a house. Start with the foundation and move upward and then into the interior.

Karlie’s porn lesson stresses another consideration. “Save your money,” she says, because a career is too often brief and don’t neglect to buy your domain and “auction your clothes.” Everything produces an income.

Finally, we chat about controversial issues that swirl around the industry, the first being the condom debate. Karlie is blunt.

“When I was doing boy/girl I hated using condoms. It hurt to have aggressive sex for long amounts of time,” especially when some of the guys are so large. Her objections address the downside of protective barriers on a porn set, latex abrasion. For some girls, repeated penetrations, particularly if the shoot is both anal and vaginal, take a toll on the body.

The look of a confident porn veteran. Photo courtesy of twistys.com

A determined porn veteran who know her own mind.
Photo courtesy of twistys.com

Karlie pauses a moment to re-frame her thoughts into a political comment. “I don’t think it is fair to force me to use a condom when people in regular life aren’t forced to do the same.” She mentions the two-week testing protocol the industry uses and emphasizes that “if I want to take that risk it is my decision as well as my responsibility to stay healthy.”

Testing carries over the next issue, escorting, an industry complication that creates a social stigma among performers.

Karlie stands with Chanel Preston, an industry vet who supports performers opting for paid sex beyond the camera but challenges them to be aware of how their ancillary business affects others. “I do support a girl’s choice to escort because I don’t believe in telling someone how to live,” Karlie declares. But she insists that escorting brings responsibility. A girl should be “smart enough to have her clients screened,” know who her johns are, and insist they use a condom. “Sex will always be a risk,” Karlie admits, and it’s unfair to condemn escorting when “hooking up with civilians is ok.”

“Sex is sex,” she says, “whether money is exchanged or not.”

Of course, the danger is bringing an STD onto the set and into the tested performer pool—the point of those who condemn escorting. It ratchets up everyone’s risk. But Karlie extends the argument further. She is critical of the industry’s concept of safe sex, or as some put it, safer sex. It’s “bogus,” the longtime veteran insists, because it is incomplete. Performers are “only tested for a few things,” she adds, and HPV, for example, is not one of them. Yet performers have a “ridiculous false sense of security.”

In the final analysis, when it comes to sexual behavior, Karlie concedes, “We all live on the edge in one way or another.” Perhaps the public should listen to the wisdom of porn girls more often.

* * * * *

Karlie Montana is described as an “unsung” performer in the industry. What does the label mean to her? She answers with a bit of humor. “To me ‘unsung’ means under the radar or unnoticed. And, since I’ve been in the business and a ton of people haven’t heard of me . . . well that’s why.”
Put anonymity aside and discover this luscious and provocative woman. Watch her at work. You’ll fall in love with a dynamic, smart, and talented personality packaged in the most classical and sculpted body in adult film. Guaranteed. . . !

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Tagged as AVN, bondage porn, Chanel Preston, Evil Angel, fetishes, gonzo porn, James Deen, John Stagliano, Karlie Montana, Kink.com, Mike Quasar, Shades of Scarlet, Skin Diamond, Voodoo, XxxFastPass

February 24, 2013 · 6:04 pm

A Bad Deal

by Rich Moreland, February, 2013

“Cancer is a rollercoaster, but he’s ridden with grace, dignity, and great good humor.”

These are the words of Melissa Palmer, Christian Mann’s support person, passionate companion, and overall good hope. She is gracious beyond belief in answering my recent inquiry about Christian’s health.

I’ve not known Christian Mann very long, having met him just a few months ago. In an earlier blog entry, “Deeper into Their Fantasies,” posted December 22 of last year, I recount my adventure at Evil Angel’s L.A. offices where I interviewed Christian. He set aside an hour of his time, but we went way over. He was more than generous with his thoughts and patience in helping me with what I wanted to know.

Of our conversation, what sticks in my mind is the image of Christian impersonating the late Reuben Sturman, one of the most colorful characters ever in the adult business. One day in 1987, Rueben called Christian into his office for a quick meeting. Using his pen as a cigar to flavor the story, Christian imitates the legend’s unique style. He leans forward and with captivating humor quotes Reuben’s advice on the best way to regard a proposed deal.

“No deal is better than a bad deal,” Christian says, never imagining that a nasty deal is already on his doorstep. Christian explains that Reuben’s advice was invaluable because “a young man’s instinct is to force a deal.” Christian has learned the patience needed to take his time.

Before I leave Evil Angel, we arrange to meet again in Las Vegas during the Adult Entertainment Expo. I have ideas in mind for my next book and I want his input.

Christian and I meet again on the convention floor
Photo Courtesy of 3hattergrindhouse.com

Fast forward to Wednesday of convention week, Christian invites me to the Evil Angel suite after floor hours to chat. John Stagliano sticks around and joins the conversation. It is, as the TV commercials say, ‘priceless.’

The rewards for the evening are all mine. I get a copy of Voracious and have the pleasure of reviewing it for my blog and Adult Industry News. But most important, my photographer takes a classic shot of Christian, John, and a life size poster of iconic performer Bobbi Starr.

In the blog post about my visit to the Evil Angel suite (“As the Night Settles In,” January 28, 2013) the photo is there. It is also ‘priceless’ and will remain in my personal inventory for a lifetime.

Christian in the suite
Photo Courtesy of 3hattergrindhouse.com

But there is an ominous presence in the room that night.

Christian is using a cane and mentions almost apologetically that he has back pain and needs help to ease his getting around. I sense something is wrong and it eats at me for the rest of the week.

Then quicker than a wink at a pretty girl, the announcement knocks the industry for a loop a few days later. Christian is seriously ill.

I am shocked and share the news with Bobbi Starr, who is equally stunned.

So, where are we now?

Having heard nothing for a couple of weeks and doing a good bit of worrying, I contact Melissa. Meeting her on that fateful evening turns into good fortune multiplied in spades. She is upbeat and looking forward to a positive swing of events that further marches Christian to a cure. She also alerts me to Christian’s newly created blog, http://www.christianmann.com/, to keep everyone informed of his progress.

As I sit here a continent away from Los Angeles, I know Christian’s response to this new very personal bad deal is to figure out a way to come out on top. Cancer can be conquered with a positive attitude and the support of friends vital armor in the battle.

Keep Christian in your thoughts or prayers, whatever your preference.

By the way, I’m due to make another trip west within a few months and I fully expect to visit a healthy Christian Mann. After all, he is destined to show Reuben Sturman how to overcome a bad deal.

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Tagged as Bobbi Starr, Christian Mann, Evil Angel, John Stagliano, Reuben Sturman

February 9, 2013 · 10:19 am

With Girlfriends, it’s all Sex-Positive

By Rich Moreland, February 2013

Photo Courtesy of 3hattergrindhouse

Not every pornographer shoots sex for sex’s sake. Dan O’Connell, founder and owner of Girlfriends Films, does more than direct a sex scene just because he’s hired a couple of girls and has a camera. “I think the context of sex is important,” he says, explaining there must be a reason for the girls to explore each other in a Girlfriends production.

His formula works. The company is widely known in the industry for creating film narratives with a purpose. Like many studio owners, Dan emphasizes production values that reflect his personal tastes. In this case, he prefers “a dramatic storyline full of tension and anticipation.” Dan O’Connell is much like Evil Angel’s John Stagliano, though their movies differ in style and subject matter. Each man puts his passion on film. He knows what he likes and he has cultivated an audience who enjoys his offerings.

Girlfriends Films advertises its product as lesbian oriented though the company recently hired Vivid veteran Michael Bisco to develop boy/girl shoots.

Photo Courtesy of 3hattergrindhouse

Right now, Dan hopes to complete at least one a month. His objective has always been to produce films for women, but he realizes that male viewers can also find space under the Girlfriends’ umbrella.

Seduction is a key word at Girlfriends Films. As mentioned above, Dan O’Connell wants to move past just shooting sex. He amusingly puts it this way, Girlfriends avoids the “’I like you, oh, I like you, too. Let’s go have sex,’” theme.

However, seduction translates into a different approach when it comes to filming. Dan is always on scene, but he minimizes his crew for the sake of the performers he hires. He wants everyone to be at ease, otherwise seduction isn’t going to happen, or if it does, it will lose any claim to authenticity.

“I don’t have any more people in the room than we have cameras,” Dan says. For him, three is the limit. Speaking of the crew, its Dan and two girls who happen to be gay.

Why? It’s a simple consideration when working in an industry that demands a performer’s most intimate moments. “Some of the girls we shoot are relatively inexperienced in the business and we don’t want to make them nervous with a bunch of guys looking around,” Dan explains. When girls get aroused they must keep in mind that the cameras have monitors. Important, Dan insists, because “If you are not looking in the camera monitor, you are not making a good movie.” All very professional, keeping everyone on task and producing content that elevates a business’s reputation.

Legacy and Integrity

When I asked for his mission statement, Dan beams. “To provide orgasms, to make people happy!”

“Our industry is all about providing happiness and contentment and sexual satisfaction,” Dan says, “we are not here to rape and pillage.”

Dan O’Connell
Photo Courtesy of 3hattergrindhouse

Then he adds something I’ve rarely heard in the industry, a sense of legacy.

“When pornography is finally a legitimate business,” Dan says, “I want people to look back and say GirlFriends Films was one of those companies that was sex-positive.” When I mention that the label sex-positive makes his company feminist oriented, he responds with a smile then puts a slightly different spin on what he means by the term.

Dan urges the adult business to strive for a sex-positive goal because “as an industry we should be respected, not vilified the way we often are.” It’s about integrity, something Girlfriends Films has solidified as part of its brand.

Girlfriends has a “clean reputation,” Dan believes, and in the porn world such an accolade does not come without effort. One might suspect that as owner he collects sexual perks for himself. Not so, Dan does not hang out with the girls who film for him. That’s important, he points out, because “you will gain their respect and they’ll want to work with you” if they are treated like the professionals they are. And there’s another benefit, the performers who shoot for Dan bring other models to his attention.

“I always am very respectful of the girls,” Dan says and explains that porn performers are top notch in his view. He describes them as “physically strong, mentally strong, very resourceful,” plus they are intelligent and educated. “At least the ones we use,” he notes.

I would agree. The Girlfriends booth at the Hard Rock Hotel is always busy with girls signing and talking with fans. Dan’s popularity among the talent is obvious. Other studios may have two or three performers available at any one time but Girlfriends has twice that number. Also, a company person is always around to schedule interviews for journalists or other interested parties. I secured my interview with Dana DeArmond through a simple hassle free request, something that is not always the case with other studios. In short, it’s about access and Dan knows how to make that work for him.

When I got to know Dan O’Connell better (we talked again the next day) I felt comfortable using Girlfriends as a place for brief timeouts from my hectic floor schedule. Anyone who plans to go to Vegas for the Adult Entertainment Expo should stop by Girlfriends. The atmosphere is friendly and relaxed. I can assure any visitor that he or she will always feel invited.

Over the years, the adult business has changed for Dan. He used to be more into shooting a scene than writing one, but no more. “I get more excited writing scripts,” he says. Dan likes developing new ideas and testing out innovative story possibilities. As a writer, I can fully understand his view. Dan prefers storytelling to the task of getting just the right shot on set. Filming is hard work and has its rewards, but it doesn’t compare with inventing content, especially considering that Girlfriends shoots as many as thirty scenes a month. For Dan O’Connell the business is twenty-four seven.

In our conversations Dan reveals a philosophical side. He has definitive views on society’s attitude toward sex and porn. “The sex industry should be enormous,” he says, considering that everyone is concerned about sex in some way. Seems logical to me, sex is about our humanness. However, when it comes to the adult convention—the yearly occasion that sex takes center stage—Dan points out that reality paints a different picture.

Unfortunately, today’s market downturn crams the annual gathering into the confining spaces of the Hard Rock. I suggest that the hotel’s venues get crowded on fan days and Dan nods, mentioning that Girlfriends’ booth is deliberately located in the back of the ballroom where space is more available. In fact, he has added another booth just to make room for the company’s fans. Dan doesn’t want them to get “stacked up” while waiting to meet their favorite stars.

As I hinted above, it was a real help to me as I used the Girlfriends space to meet up with people, so my thanks to Dan.

Dan O’Connell makes a final point as we wrap up our talk. “People look at us (the porn industry) based on what they perceive to be the worse content.” Elaborating further, he believes that the vilest material that “disrespects women and causes pain” is it what the public believes the industry to be. Perception without a comprehensive knowledge and understanding of what it means to be in pornography is a problem the business has never been able to shake. But Dan insists that scenario can be changed.

I could not agree more and Dan O’Connell contributes mightily to that effort. He’s one of the good guys and his company is well respected in the universe of filmed pornography. With Girlfriends, it’s all very professional and sex-positive.

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Tagged as Dan O'Connell, Evil Angel, Girfriends Films, Hard Rock Hotel, John Stagliano, Michael Bisco

February 6, 2013 · 10:20 am

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!”

* * * * *

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.

“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?

Ritual 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

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.

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.

* * * * *

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

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 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.

* * * * *

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

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

Getting Ready for the Awards Ceremony
Photo courtesy of AVN

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Tagged as Brooklyn Lee, entertainment, Evil Angel, Invana Sugar, Lea Lexis, Sandra Romain, Voracious

February 5, 2013 · 10:00 am

A Bell Tolls

by Rich Moreland, February 2013

This episode is about the attempted seduction of Manuel into the clan. Amira demonstrates an inner resolve that has not been seen up to this point. John Stagliano’s script and visualization of the sex in this segment of Voracious is superb and that is saying much considering the scenes that have come before it. This episode is titled “Who Is This Guy?”

* * * * *

Adriana meets Manuel in the train station to take him ostensibly to see Amira.

Manuel Meets Adriana Again

When they arrive at the warehouse where the vampires are camped out, the ever-present Dracu rides up on his motorcycle and stares at Manuel.

“Who is this guy?” he growls, directing his comment to Adriana.

Dracu Wants to Know Who Manuel Is

“I told you we needed more men,” she answers sweetly and without a hint of deference in her voice. “Let’s go,” she says to Manuel, walking briskly away from a curious Dracu.

Dracu is annoyed and somewhat suspicious about Adriana’s motives. The viewer now realizes she is typical of the female vampires in the clan. They pull no punches when they voice their demands and have little time for Dracu’s bullying. Once again, John Stagliano shows that women are a powerful force in an Evil Angel film.

From here the scene takes on a host of images and meanings. Manuel enters the room where the action of this episode takes place where Amira is waiting in a black bikini styled for BDSM lovers. Fleeting moments of past sexual encounters flash on the screen.

The Vampires Prepare to Move in on Manuel

Manuel is surrounded by female vampires: the Vampire Mistress, Ivana Sugar’s newly anointed vampire, Adriana, and Amira who exists in a sort of vampire purgatory. It’s a replay of his first encounter in the L.A. house.

This time there will be more profound implications that move past an introduction into the vampire world.

A Test for Amira

The seduction begins with the grainy black and white quality reminiscent of the stag films of yesteryear. Once more the music is rhythmical with a dreamlike tonality. The scene is shrouded in darkness similar to the night in the park that first introduced Father Zoltan. Having served as an emissary and suspiciously active as a conspirator, Adriana withdraws. Amira is again cut out of the action. While the vampires lustfully gaze at Manuel, Amria’s face is blanketed with apprehension and uncertainty.

Through the flashbacks, John Stagliano will bring together the previous episodes allowing the viewer to peek into the minds of the characters.

Sometimes in modern pornography, the sex becomes tediously repetitive. Not so in this Evil Angel epic. Stagliano offers enough freshness with each filmed sequence to keep his audience entertained.

Intermingling

The remainder of this episode is a test for Amira who watches Manuel’s seduction.

She enters, exits, and reenters the room but does not participate in the three-way scene. At one point she glides in and sits on the couch where the action is taking place. With hesitancy she reaches out to touch Manuel’s foot. He is unaware of her presence, but she is very cognizant of the potential loss she confronts.

Amira Reaches Out

Her movements in and out of the scene are instantaneous, a reminder that the undead occupy an ethereal existence beyond humans.

Whenever Amira is present, a series of flashbacks pop up. Her plea to Vlad to see the sun super cedes all the others in its intensity. Manuel’s sweat soaked face as he is orally stimulated in real time is superimposed over a cum filled Amria’s as she grovels before Vlad. Later images of Amira and Manuel, faces nuzzling, appear on screen. The flashbacks are visually filmy and fragile, memories alive with feeling but questionable in their authenticity. Vampire seduction takes place in an unreal world, doesn’t it?

That will shape the dramatic ending to this episode.

The sex acted out here brings to bear a philosophical conundrum. John Stagliano has a way of reinforcing his script with visual comments that give the viewer a deeper understanding of his message. He selects images, like the Victory Column, the steel ladder in front of the coffins, and the priest’s red crucifix, to persuade the audience to watch the film in a more profound way. In this case, a new image is on tap: the face of a magnificent ebony Buddha, a passive monitor positioned behind the couch where the sex takes place. In this episode, faces express the story.

Voracious reinforces that porn often crosses over into art.

The Buddha Watches

An ancient philosophy, Buddhism teaches that desire causes suffering and when desire is conquered, enlightenment is achieved. The vampires suffer because of their blood lust and the unrelenting and never ending pursuit to satisfy it. Doomed to an existence of frustration and an insatiable carnality that consumes them, the vampires will never be freed of physical need. Their existence is in a reverse reality where any hope of paradise will elude them forever; their immortality is dark, haunting, and hungry.

As Buddha believed, to be is a cycle of birth, death, and rebirth with torment and anguish to be endured before the cycle comes again. It is cleansing process that leads down the path of enlightenment. Vampires are indeed reborn, but into a black, heinous eternity that floats between the joys and vagaries of humanity and paradise. They can finally die, by sunlight or a stake through heart in traditional tales, or Vlad’s wrath in this story. But rebirth to eventual perfection is not in the cards, an undisturbed peace is their only hope.

So John Stagliano presents the viewer with a paradoxical and insoluble problem that cannot be solved. He lets us know that a vampire’s fate is condemnation in the Christian doctrine and a failure to achieve perfection in Buddha’s teaching. But angels do prevail . . . sometimes . . . as Voracious wants us to consider.

After Manuel is sated and exhausted, the Vampire Mistress moves in for the kill. The fangs come out and soon he will not see the sun. Now Amira’s test steps to the forefront.

Manuel Is Under the Bite

Manuel’s seduction is hard-hitting and the scene closes with a powerful image. The Vampire Mistress is visually captured with the Buddha behind her, lording over the most dramatic and artistic scene in the film. Proof positive that John Stagliano is a filmmaker first who has chosen pornography as his artistic venue.

Buddha Challenges the Vampire Mistress

As we know, sex is accompanied by sound and in this case it brings closure to an emotional episode. A bell, like those found in village churches, tolls in the background, but for whom?

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Tagged as Buddha, Evil Angel, John Stagliano, Voracious

February 3, 2013 · 1:02 pm

A Shortage of Playmates

By Rich Moreland, Febraury 2013

Rather than move the story forward in dramatic fashion, this episode, called “You’re Going to Bring Another Whore Into This Clan,” is a set-up piece for the remainder of the film.

* * * * *

Once again the opening image is the Victory Column as seen from Manuel’s hotel room. The anthropologist is doing some academic work searching the internet for vampire lore, especially the ancient tale of returning a vampire to humanity.

He finds a website that fulfills his search and discovers the deed can be done. The predominant image on the webpage is a girl floating face up in water. No surprise here, water and life are conflated again. The recipe calls for holly water (a variant of holy water) and a priest.

Reenter Father Zoltan who warns Manuel that such attempt is risky and could cost Amira her life. He suggests Manuel consider becoming a vampire and there is a hint of recruitment here that will be shortly revealed.

“But that’s her choice,” Manuel says.

Clearly John Stagliano, who is well-known for promoting the careers female performers and directors, uses this moment to make a political statement about the right of a woman to own her sexuality and to determine her future.

Father Zoltan is on board to give it a try, but there is a feeling, if ever so vague, that there is a trap to be sprung.

We Want More Men

The scene shifts to the vampire house and the room where Amira experienced her sexual chastisement at the hands of the Vampire Mistress. Sandra Romain’s Mistress role is back and she is playing with two other female vampires. What makes this warm-up with the trio interesting is Stagliano’s use of neon tones and day glow paint to give the scene a surreal quality that recollects the psychedelic days of yesteryear.

There’s a lot here for viewers who have a foot fetish and at one point the colors become fiery and hellish, certainly an image that fits the film. In a brief moment the glass of the enclosed area becomes a barrier between the Vampire Mistress and the girl she wants to kiss, who is masturbating on the other side. A sense of frustration invades the room. The Vampire Mistress and Ivana Sugar’s newly “christened” (pardon the pun) vampire are left to playing among themselves.

Boredom Strikes Hungry Vampires

Shortly, Dracu enters with what porn people love the call the “new girl.” Though he sports an devilish grin, Dracu does not get the welcome he anticipated.

Dracu Brings a New Girl

One of the vampires vents her anger at him. He is delivering another whore into the clan when what they really need are men.

“We want more men!” the Vampire Mistress shouts.

She slaps Dracu’s face and demands to know if he understands.

Playtime

Certainly he does, but does he care?

The three frustrated vampires leave the room and Dracu has his way with this latest whore who incidentally is played by Alice Romain, Sandra’s little sister.

The sex between Dracu and the blood slave is some of the best in the film. Alice Romain deserves high praise. Needless to say, the day glow paint, which is smeared everywhere like a child’s finger painting compliments the psychedelic feeling of the shoot.

* * * * *

By now, the suggestion to Manuel that he become a vampire is well-founded. If he did make the move, likely he’d have plenty of playmates for centuries to come.

Yet, there is a hint of trouble ahead. Even among the undead, drudgery, the same recipe over again, produces unhappiness. Is there a workers’ strike in the making in Vampireland?

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February 2, 2013 · 5:32 pm

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.

* * * * *

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 16^th and 17^th 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

As Manuel departs, Adriana watches a distance away.

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

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.

* * * * *

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

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

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.

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!”

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

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 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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Tagged as BDSM, Brooklyn Lee, Charlottenburg Castle, Evil Angel, John Stagliano, Posture Collar, Rocco Siffredi, Tricia Deveraux, Victory Column

February 1, 2013 · 5:25 pm

Follow Me

by Rich Moreland, February, 2013

This episode introduces Rocco Siffredi as Vlad. Siffredi is a long-time associate of John Stagliano and directs for Evil Angel.

* * * * *

Back in Los Angeles Manuel Batiste is probing further into the vampire mystery. Father Zoltan responds to Manuel’s inquiry by offering to video conference giving Manuel a chance to raise questions about the vampire killing and meeting Adriana and Amira. During their talk, the priest adroitly deflects Manuel’s concerns while pursuing an issue of his own.

Speaking of Adriana and Amira, Zoltan asks, “They are friends of yours?”

Manuel says “no,” but he wants to locate Amira.

The priest turns icy. “You have seen a lot, Mr. Batiste, and we’ll get back to you.”

With that, the call terminates and begins Episode Four, “You Can Never Leave the Clan.”

Nobody Can Leave Again

The hookers have returned to the park, they are blood slaves, not yet full-fledged vampires. Their task, one of the slaves announces, is to “feed the vampires.”

Luring Blood for the Vampires

They have no luck until a motorcycle pulls up.

“He’s the one who can help us,” the taller slave announces. She is played by Russian beauty Ivana Sugar, who sports a resemblance to Paris Hilton in face and figure.

“Really?” the second slave (Zorah White) responses.

With an assured presence, Ivana’s slave says, “Follow me.”

They arrive at a wooden dock that appears to access to an inlet or lake. Once again the water motif runs through the narrative. Here the water is more expansive than the hillside pool in LA and unlike the Pacific, very calm, perhaps indicative the clan’s self-satisfied control of its adopted environment.

The Blood Slaves Meet Vlad

“I think maybe he’s over there,” Zorah’s slave says.

They walk on until startled by Dracu who appears from nowhere the moment the motorcycle pulls up. The rider is Vlad whose status in the clan is not clear at this point, though it is apparently superior to Dracu’s.

“I’ve killed the mother fucker,” Vlad tells Dracu. Is this the dead vampire Manuel discovered?

“Good job,” Dracu replies.

Dracu Prepares his Special Fingernails

“Nobody can leave again, nobody,” Vlad asserts. Is Amira doomed to never be free if this is what she wants? Or, does Vlad’s self-assurance forebode a conspiracy that will challenge his power?

Attention is drawn to the blood slaves. Vlad reminds Dracu to tell them once they are vampires, they can never leave. Vlad approaches Ivana’s slave and asks if she knows she is not a vampire yet. “Yes,” she replies.

And with that, the sexual encounter of this episode begins. Dracu backs out of the scene at the beginning in deference to Vlad, much the way a medieval inferior would cede an offering to his overlord before partaking himself. The girls are Vlad’s toys at this point. He starts by pinning Ivana’s hands behind her back in bondage fashion and grips her face to let her know the sex to come will be rough. She arches her back and drops her head like the girl with the satyr in episode one.

The sex begins in slow-motion with a guttural over voice that is reminiscent of a growling vampire wolf. Vald’s motorcycle sits in the background and like the painting in episode one, lords over the dock and its entertainment.

This part of the shoot is beautifully done. Eventually Dracu joins in. Saliva and spit is minimized. The oral skills of Ivana Sugar steal the scene. Her performance is a reminder that no female performer in this film ever gives the impression she is in it for a paycheck. The enthusiasm and hard work of all the female performers in Voracious is remarkable considering the length of time invested in the episodes. The girls in this scene appear to thoroughly enjoy themselves.

In particular is Ivana. Once she is caught momentarily glancing toward the camera, apparently at someone in the crew. It is slight but delightful because she smiles, hardly in character for a vampire- to-be who is engaging in heavy sex. Watching Ivana reminds me of a characterization I once heard of an Evil Angel icon and porn legend, Bobbi Starr. “She good at it and she knows she good at it” was the description. The same can be said of Ivana Sugar and the upbeat attitude she brings to the shoot. Not to minimize the talents of Zorah White who can rival anyone in porn, but this scene is Ivana’s.

Finally, Vlad takes the two blood slaves into a sauna on the dock. Their throats are ravaged, a bit of blood flows, and the deal is sealed. The viewer cannot resist admiring the work of both girls when the action moves indoors. Ivana responds to Rocco Siffredi’s guidance through the scene with tenderness and a smile. She playfully kisses his abdomen in a moment that seems oddly placed in a vampire film, but speaks volumes about an Evil Angel production and the pleasure many performers get from working with Rocco.

Vlad secures his new vampires, but he has a task before him. What to do with Amira?

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January 31, 2013 · 6:47 pm

Don’t Bite Without Permission

By Rich Moreland

Much of Evil Angel’s Voracious is an in-house project. The male leads in order of appearance are Manuel Ferrara, Steve Holmes, Omar Galanti, and Rocco Siffredi. Each actor also directs for the studio.

* * * * *

“But you are not alive,” Adriana reminds Amira.

Surrounded by a watery motif—the pool outside the house and the Pacific Ocean in the distance—Adriana and Amira talk. Water is the source of life and rebirth, something worth remembering as this saga continues.

Dusk is setting in.

Amira has violated the code, it seems, because the clan must approve any human she wants to bite. Adriana suspects Amira has doubts about the demonic promise of eternal youth.

“You like him because he is human,” Adriana says with a hint of understanding before hurling an admonishment at Amira.

“You need to learn to control yourself.”

Even vampires, like the monks of the Middle Ages, must exist by regulation and self-restraint.

“We leave tomorrow.” Adriana’s tone demonstrates waning patience with Amira’s transgression. Their impending return to the Old World where vampires are legend will present challenges unforeseen by either woman.

The Hunt

This episode, “Now You Are a Blood Slave,” is about the hunt. In black and white grainy footage, Adriana and Amira emerge from the river that runs through the city of Budapest.

The story quickly shifts to a park in this heart of mythical Vampireland. Hookers apparently frequent this scenic little spot and one girl cautiously reminds a passing pair of nubile blondes that it is not a safe place.

Vampires Prey and Play in the Park

The power imbalance between the undead and the living is revealed in speed and metal during this episode. Adriana and Amira arrive in a car and proceed to stalk unaware victims who will supply blood to hungry vampires. Immediately, Dracu, played by Italian star Omar Galanti, appears on a motorcycle with a female passenger who has a nasty bite of her own. They are part of the clan and it’s time to recruit new members, fresh blood, if you will.

Father Zoltan, a role suited to Transylvanian native and porn veteran Steve Holmes, waits within the darkness. He appears to be a savior with his oddly colored red crucifix. But there are doubts as one of the hookers who would not heed the advice offered earlier comes into his presence. Father Zoltan uses his cross to ward off the girl’s pursuer, the female vampire brought by Dracu. To show her appreciation, the hooker, portrayed by European sensation Zorah White, orally satisfies Zoltan before realizing she is the victim of a hoax. In a comment on religion and sexual repression, Stagliano’s camera captures the small silver crucifix that dangles from the priest’s neck as it floats above his erection and the girl’s mouth.

European pornography, especially in early French stag films, occasionally takes a shot at religion. American prudery generally finds such behavior offensive but when in Rome, as they say, . . . permission is given to be a Roman.

Dracu’s passenger, the Vampire Mistress (the lovely Sandra Romain), corners the poor girl and gets the sustenance she needs with a well-placed bite.

Among the Motorcycles

Dracu and Adriana have a fresh human captive to initiate into the clan, the willowy Hungarian Bibi Noel .

The Lovely Bibi

But before ritual begins, Adriana slips the word to Dracu that Amira is not what she should be.

“She tried to bite without permission,” Adriana whispers to him, “I think she has doubts about being a vampire.”

Is vampirism a choice and can a girl check out of the clan whenever she wants?

For the second time, a disciplined Amira is cut out of the opportunity to bring in a blood slave. Dracu exiles her to the house and she watches briefly from afar. Director John Stagliano now sets the tone for the rest of the series. Everything is not all dripping red roses in Vampireland.

The sex in this episode is truly fetish oriented with toe and feet sucking, face slapping and lots of anal and sloppy oral. The action between Adriana and Dracu is intense. Pay particular attention to the blood slave transformation of Bibi Noel. She may start off slow, but the pace is perfect at the end right before the feast.

Ah, the feast. The viewer should know that it’s truly a heartfelt tribute to the great work of Bela Lagosi and Christopher Lee who, had they performed in a different age, would have delighted in this scene.

Adriana and Dracu feast on Bibi

Incidentally, the prolific exchange of saliva in these episodes is a reminder that existence, even a vampire’s, is water oriented, though perhaps among the undead it coagulates a touch more.

The predominant image that prepares the meaning of the sex is Dracu’s motorcycle leap arcing across the screen at sunset. The suggestion is a passage between two worlds, the living and the undead. In fact, a similar bridge is formed during the extended physical encounter that is part of the blood slave ritual. It takes place among scores of motorcycles. Adriana, back arched beautifully—a reminder of the satyr statue in the first episode—positions herself so she can fellate Dracu from underneath. Once again she is seeing a reverse world in which the undead are the living. During the action she is orally serviced by Bibi’s blood slave. The shot forms a stairway effect, rising from left to right, that leads the blood slave to her Master, Dracu.

Adriana’s acrobatics introduce another, more sinister, image. Didn’t they break witches on the wheel in 17^th century Europe? Adriana hints later that she has been around for five hundred years. Perhaps her position is a tortured part of her past.

As the episode closes questions arise. How strong are the bonds in the clan? Did the chastised Amira go through a similar initiation? If so, why does she seem so independent minded? Will a power struggle later emerge? And, most important, who’s running this show?

Maybe a few hints will come around in Episode Three.

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Tagged as Bela Lugosi, Bibi Noel, Christopher Lee, Evil Angel, John Stagliano, Omar Galanti, Rocco Siffredi, Sandra Romain, Steve Holmes, Zorah White

January 30, 2013 · 7:41 pm

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.

* * * * *

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.

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.

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.

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.

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.

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.

Incidentally, 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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Tagged as Bram Stoker, Brooklyn Lee, Dracula, Dracula's Brides, Evil Angel, John Stagliano, Jonathan Harker, Lea Lexis, Manuel Ferrar, sadomasochism, Voracious

Tag Archives: Evil Angel

Under the Radar: Karlie Montana, Part 2

A Bad Deal

With Girlfriends, it’s all Sex-Positive

Borrowing a Little from Bach

A Bell Tolls

A Shortage of Playmates

Are You a Real Vampire?

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Don’t Bite Without Permission

Practicing Sadomasochism

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