Tag Archives: Jessis Andrews

Hiding Her Light: Kalie Montana, Part 1

by Rich Moreland, November 2014

“Over the years she has been one of the most beautiful and passionate performers in girl/girl and she brings all those talents to the boy/girl game,” Elegant Angel general manager Graham Travis tells XBIZ in August, 2012. He is talking about Karlie Montana, a ten-year veteran of the adult film business whose sparkling career hovers just beneath porn’s noise and glitz.

Karlie is the type of performer an industry writer “stumbles upon” through reviewing films. Her name rarely comes up in conversation because the dazzling twenty-eight year old is sinfully guilty of hiding her light under a bushel, as the old Biblical saying goes.

Not surprisingly, finding Karlie took a bit of effort on the part of this writer. Inquiries among industry friends finally yielded her contact information and she was gracious to grant an interview.

Photo courtesy of Twistys.com

Photo courtesy of Twistys.com


What to make of this “star” who goes about her business in an orderly resolute way, the sure sign of a blue-collar work ethic? Make no mistake, Karlie Montana is not seduced by fleeting glamor like so many gullible young women who give porn a shot then bail after a few months. She could never afford to be. Longevity was always her plan and that meant passing up quick money for a steady income.

“I have lasted this long because I paced myself,” the 5’7″ stunner says. “I’ve taken my time in this business. Fame was never my goal, stability was.”

Taking a moment to reflect, Karlie reemphasizes being grounded and taking care of herself. “The one thing I appreciate from this business is the financially stability it has given me.” That’s wisdom in an industry that seduces “stars” who are often ill-equipped to manage instant attention. A director once characterized most girls as way too young to negotiate their way through the adult film business, making $20,000 a month and ending up with $21,000 worth of debt from wasteful spending. Like hamsters on wheels, they turn over their days booking whatever comes along because they have no plan, no anchor.

In fact, Karlie broke into porn at eighteen, the earliest age legally possible and her story at first seems to fit the misinformed image that porn girls are desperate creatures without resources. In this respect, Karlie’s background feeds the public’s perception of porn as an entangler of young women living on the fringes of decent society.

Part of Karlie may appear to offer credence to this perception, though a closer look dispels any assumption that she was ever victimized by the industry or her own lack of control over her career.

Originally from Phoenix, Arizona, Karlie moved to Southern California where she started working at age sixteen serving up ice cream. “I grew up in the “Valley,” she says, speaking of the San Fernando Valley on the far side of the iconic Hollywood sign. “So porn has always been around.” Indeed, Karlie saw her share as an adolescent.

Her developing years were not easy. “I was a teen runaway and a high school dropout,” she remembers. Cashing in on her street smarts, the amply built performer used her situation to her advantage by celebrating a fondness for showing off her physical assets.

“I’ve always been an exhibitionist. I love flashing people at the street races!” Karlie exclaims with a wink. Soon after she reached the magical eighteen, a modeling agent connected with the industry contacted her and the red-haired seductress turned her free-flowing sexuality into a career. “Porn truly gave me a way to be financially stable,” Karlie repeats with appreciation. “Without it I don’t know where I would be.”

A Life Changing Decision

Decades ago when the venerable Jim South was porn’s most well-known agent, girls were advised to not jump right into the roughest and nastiest sex. They began with solo shoots (magazine photos for the most part), then accumulated some girl/girl scenes before plunging into the hardcore action that will follow them until the end of days.

It was a gradual process that accustomed performers to the unforgiving demands of adult film.

Karlie used this formula to move from porn’s wading pool into the deep end. “I didn’t start doing boy/girl right away, I’ve taken my time in this business,” she says with measured confidence before touching on her shooting history.

“I started in 2004 as a girl/girl and solo performer. I did girl/girl for eight years before I decided to transition to boy/girl. I was twenty-five when I did my first boy/girl. I felt at that point I was grown enough to make a life changing decision. To me there is a huge difference between girl/girl and boy/girl and the lifelong impact that goes along with it.”

Photo courtesy of Torrid Art.

Photo courtesy of Torrid Art.

When asked to elaborate on her fondness for girl/girl, Karlie explains that personal taste (pun intended) is the key. “It’s all I wanted to do,” she says. Though she remained single, men were always around. “I had a few relationships in those eight years,” she adds. So, unlike some porn girls who stop doing the opposite sex on-screen when they enter into a steady relationship, Karlie’s decision “wasn’t for a man,” she jokes.

Essentially, it was a business move that reflected Karlie Montana’s understanding of economics and the concept of scarcity. “Because I held out for so long, people were willing to pay for something fans have been dying to see. As a result, I had one of the highest boy/girl rates around.” Porn girls can be plenty smart in this regard, don’t forget Allie Haze and Jessie Andrews who finally did anal on film after establishing themselves in the business and waiting for demand to build.

Karlie’s patience paid off. “I waited for so long because [hardcore] is a big deal.” Boy/girl is “very different,” she explains. “I wanted it to be a decision that I was completely sure of and doing for the right reasons and ready for the impact it had on my life.”

Karlie’s foray into explicit penetrative sex was rewarding, but short-lived. “I have now returned to girl/girl because it’s what I’m happiest doing.” So for her fans, the boy/girl shoots are limited and destined to become a library in their own right.

There are further issues in her decision, however. Karlie admits that “boy/girl takes a lot from you physically and emotionally. It’s hard on your body and affects all areas of your life.” She comments that during her boy/girl time she was in a committed relationship. Home life can take a hit when a significant other is doing penetrative sex on film; the personal sense of vulnerability that results can be difficult to manage.

So, where is Karlie today? “At this point in my life I want to be happy and healthy and enjoy what I do for work,” she says, then humorously declares that for her fans, all is not lost. “There’s content out of me sucking and fucking to last for the rest of my life.” Enough for all.

Referencing her close friendships in the industry, most of whom are photographers and filmmakers (Dana Vespoli, Rick Shameless, Dani Daniels, Tammy Sands, and Stormy Daniels head a list she describes as “real relationships.”), Karlie understands the value of support and carries this over to her own directing gigs. As a performer, she has learned that being in the director’s chair means “treating the talent like humans and not robots.”

Karlie shooting with Dani Daniels. Photo courtesy of Twistys.com

Karlie shooting with Dani Daniels.
Photo courtesy of Twistys.com

As in any business, people bring their home issues to work. “Sometimes people have a bad day. It’s not easy to disconnect from your personal life problems and walk on a set and give your all to a scene,” Karlie says. “So for me as a director, it is important to let the talent know that I care about them as people and want them to enjoy their time with me on set. That’s how you get happy faces!”

When pressed about her future, Karlie Montana not surprisingly points toward directing, a path to which many performers aspire. With her work ethic, success is bound to come her way.

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In the second part of the Karlie Montana story we’ll take a look at her preferences on-screen and how she perceives some of the issues facing porn today. In the meantime, for more pics and information catch up with Karlie on Facebook and twitter.

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She’s Somewhere Out There

by Rich Moreland, November 2014

Once again, Girlfriends Films renowned director, B Skow, has created another intriguing tale that examines modern society’s foibles and abberations. His latest film, The Gardener, is worth a long and penetrating (no pun intended) look. No doubt it will join other Skow productions as an adult film classic.


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An unkempt garden with an algae-infested pool is the backdrop for a naked young woman and an older man. She is primeval and Eve-like with a distant defeated stare, eyes locked forward as if to block out pain. He cajoles her to perform oral sex, capturing his seed for a creepy impregnation ritual involving a short section of garden hose.

The Gardener is a perverse tale of a psychopath who abducts a little girl through his minions who snatch her off the street. And she is not the only victim. The film will introduce others whose stay in the garden is much shorter.

Amanda Trask (Jessie Andrews) is remembered as a sweet eight year old who left for school one day never to return. Charlotte Trask (Darla Crane) remembers the last time she saw her daughter “skipping down the driveway with a bright, pink backpack full of love.”

Amanda and Rose in the garden Photo courtesy of Girlfriends Films

Amanda and “Rose” in the garden
Photo courtesy of Girlfriends Films

That was over a decade ago, but Charlotte remains convinced Amanda is still alive. And so she is, though emotionally numb and obedient to her captors.

The family, as Richard Alan Goetz (Kurt Lockwood) calls his brood, runs a business called the ‘Goetz’ Organic Farm. It grows vegetables of all sorts and uses fresh fertilizer, the garden’s focal point. New topsoil is always available to scatter memories and cover evidence.

Richard renames his prize human flower, “Rose,” hoping to erase the kidnapping that plays out in flashbacks. Richard has a system: brother Neil (Alec Knight) drives the truck while Piper (AJ Applegate) and Sally (Karla Kush) lure the victims. In the first flashback Amanda and her pink backpack are seduced with evil sweetness, all shown with characteristic Skow cinematography.

Three is Not a Crowd

The sex scenes revolve around the unaware prey who are used for entertainment then quieted by Neil’s shovel. The garden grows with each new meal.

Maddy standing ready for fun with AJ and Karla Photo courtesy of Girlfriends Films

Maddy standing ready for fun with AJ and Karla. Teddy can’t look.
Photo courtesy of Girlfriends Films

Among the unfortunates is Betsy (Maddy O’Reilly) who consoles a frightened Amanda with “Don’t be scared little girl, they’re not going to hurt you, they need you to replace me.”

But first a little fun as Betsy is enjoyed by Piper and Sally. In the film’s first three-way, there’s a good deal of spanking, oral, and fingers with an abbreviated three-girl daisy chain. A true porn superstar, Maddy is sultry and always a pleasure to see on screen, though her time in The Gardener is brief.

Incidentally, careful scrutiny of the setting reveals a small Teddy Bear face down under the party lights. Amanda perhaps, unwilling to look?

Later, an impromptu party celebrates the complicating issue of the film, “Rose’s” pregnancy. Keep in mind nothing is what it seems in The Gardener. The reluctant Amanda will get a special gift from Richard, the “opportunity” to have sex with strangers. The scavenger team baits two unsuspecting hayseeds from Kansas, Clarence (Bruce Venture) and Leroy (Clover) to “do” a reluctant Amanda for everyone’s entertainment. Jessie Andrews’ oral work is showcased and her body is fully on display in this version of a three-way. In a recent interview, Jessie explained that her ability to suck “like her life depended on it” has lifted her industry success. Skow’s camera work reinforces that carnal truth.

The scene is shot in a catch-all rec room where the girls did a number on Betsy. This time, everyone is present to watch “Rose.” (She lives in a tent on the property where another mattress will later accommodate Jessie Andrews’ anal action). An ever-present lava lamp, a bowl of dog food, long-handled tools (very Freudian), and a box filled with plants are scattered about. Again, Skow sends the message that the lesser sorts (he has a delightful penchant for the redneck element in his films) and their sexual frolics are never far away. It does make for raw sex and Jessie Andrews’ eager sluttiness  drives this scene.

When the pop shots do their gonzo best to decorate Jessie’s back and face, Neil moves in with his shovel and the flowers get another treat.

Kurt Lockwood Photo source unknown

Kurt Lockwood
Photo source unknown

Incidentally, Skow’s version of gonzo is subtle and engrossing. He shoots bodies in their entirety and occasionally moves in for genital close-ups, but never lets them intrude on showcasing his girl du jour. He has a talent for capturing female oral work with angles that minimize the all-sex expectation of eyes focused upward toward the camera. Skow takes pages from the cinematographer’s gonzo manual, but uses an artistic vision to push porn’s standard fare to a higher level.

By the way, special kudos is offered for Kurt Lockwood’s performance as the demented Richard. He is worthy of a best actor nomination for 2014. Porn has its award shows, AVN, XBIZ, XRCO to mention three, and Kurt acting talent in this film demands serious consideration.

Furthermore, to suggest that B Skow be heavily favored for director of the year is an understatement. The real problem is selecting the movie that would best present his talent. The Gardener, along with the dynamic These Things We Do, should be on the list.

Sharing a Toy

Not until the second half of the film does Amanda’s character come alive and speak at length. She reveals her pregnancy to Neil and has a request, she wants to be pleasured and because of the baby, it’s got to be anal. This episode is the film’s marketing highlight—Jessie Andrews’ first backdoor shoot. The scene is another quality performance from an actress who spends much of her professional time away from adult film, a disappointment for porn fans but a boon for Jessie’s career. Sometimes, less is more.

Karla Kush Photo courtesy of Girlfriends Films

Karla Kush
Photo courtesy of Girlfriends Films

The pregnancy urges Richard to propose marriage (“Rose” really has no choice) and a move to put his special flower in the family house. A replacement must be found for the garden tent so Neil and the girls are sent out again. Karla Kush as Sally is worthy of comment in her scene with Neil inside the truck. They’re passing time waiting for Piper to reel in the new catch, Erica (Nadia Styles). Neil chokes Sally while she gets herself off and taunts him with “imagine if we were getting her for you, imagine what you could do to her.” They’ve played this game before. Abetting the humiliation Neil feels at the hands of his brother, Sally then moves her head into his crotch. Among all the trashy girls in the film, Karla’s portrayal here tops everyone because its sexy without being that explicit, she does it with attitude.

Erica is enticed to take a ride in the truck, setting up the final sex scene and the film’s denouement. At this moment, Skow summarizes this perverted bunch with five flowers. Blooming in separate pots on the ledge in front of the bed, three are female (full foliage) and two are male (long-stemmed). Now an outsider enters the group and the question arises, will Erica be a potted addition or fated fertilizer? Interestingly, she is renamed “Magnolia,” a flower southern “hospitality” associates with terror and lynchings.

Nadia Styles is returning to porn after a lengthy hiatus, but she has not lost her touch. The Latina is hot and intense in taking on Richard and Neil in the film’s third three-way. Like brothers do, they are sharing a toy. Complications, however, are in the wind because another flower has already been shared, not to mention there is collective guilt sprouting in every garden bloom.

The end of the film is fast-paced and action packed. Before she rescues her pink backpack, Amanda dispenses with “Rose” and confronts Richard who claims were it not for him, all the family would be dead by now.

“I am dead,” she screams. “I’ve been dead since I was eight and you killed me!”

Not far away, an unaware Charlotte Trask says, “I just know she’s somewhere out there.”

So do we.

Taking a break1 Photo courtesy of Girlfriends Films

Taking a break with Jessie Andrews
Photo courtesy of Girlfriends Films

Here is the trailer for the film courtesy of Adult Video News. Be advised it contains pornographic images.

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