Tag Archives: Lolita

Daddy’s Girl 95, Part One: The Scream

by Rich Moreland, September 2015

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

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

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Two Faces

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

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

Samantha and Quincy and the Faces.

Samantha and Quincy and the Faces.

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

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

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

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

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

And a Mask

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

The Note

The Note

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

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

Bob behind his own mask.

Bob behind his own mask.

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

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

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

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

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

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



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

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

The Scream

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

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

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

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

The Hookah

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

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

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

The Harem

The Harem

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

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


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Whatever is Best, Dad: Part Two of Our Father

by Rich Moreland, July 2014

A delightful installment in Digital Sin’s Tabu Tales series, Our Father proves once again that Jacky St. James and Eddie Powell are among the most creative filmmakers in adult cinema.

Incest porn’s “transition moment” is the topic of Part One of my review. Part Two explains how it is used in this film.

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Dakota Skye on the box cover. Photo courtesy of Jeff Koga

Dakota Skye on the box cover. Can you keep a secret?
Photo courtesy of Jeff Koga

Our Father concerns step dads who tackle their stepdaughters’ sexual hang-ups. Each of the four vignettes is a secret incestuous arrangement that requires the willful suspension of disbelief. How this taboo is handled reveals director Jacky St. James and cinematographer Eddie Powell at their cleverest. By using the “transition moment,” they move the viewer away from perceived familial perversity and into a porn film.

To mollify viewer reservations about family sex, each episode is heavily laden with dirty talk, a porn fixture that, along with cheesy music and looped sex scenes, played to audiences of yesteryear when adult film was creating an industry. In Our Father, nasty verbiage is a reminder that this is a porn movie with professional entertainers who can psychologically move out of their characters when the sex starts.

Anal is First

“It was weird how much I confided in my step dad,” Penny Pax says in an over voice. She’s sitting on the kitchen counter top talking with “dad” (Alec Knight) who is sipping coffee.

The conversation is about pregnancy avoidance. Alec speaks authoritatively about sex toys (he uses them in his practice) and offers Penny a backdoor education in birth control.

Penny and Alec Photo courtesy of Eddie Powell

Penny and Alec
Photo courtesy of Eddie Powell

To close out the storyline and set up the transition moment, Penny convinces herself any experience with her stepfather would not be “in a sexual way” because he is an instructor. She declares, “I think we should do it.” When the lesson evolves into real sex, the film changes gears, willful suspension of disbelief is abandoned and pure porn takes over.

Getting there, however, requires that St. James’ script highlight Penny’s naiveté. Alec explains everything about anal and she concedes to his authority. “Whatever you think is best, Dad,” Penny coos.

Comfortably lying on her stomach, the trusting “student” never looks back at dad. After inserting toys into Penny’s backside as a warmup, Alec quietly penetrates her. Unaware, she says it feels great, though different and natural. Suddenly daughter spots dad’s hands and turns to look. “We shouldn’t be doing this,” she says, trying to preserve propriety.

Her initial cooperative demeanor has moved through doubt into acceptance. Does she want him to stop? No, and they make a secret pact: she won’t tell mom, he won’t tell her boyfriend.

The camera pulls back, framing each of their bodies equally. For the first time the penetration appears on screen, completing the transition. She tells him it feels good and wants to know if he’s enjoying himself. Penny Pax is an anal queen and the scene continues with doggie and oral.

After the pop shot, willful suspension of disbelief reappears. Resuming her stepdaughter persona, Penny thinks of her boyfriend and dismisses any further thoughts of sex with her stepfather. Nevertheless, the experience was a valuable exercise with an upbeat conclusion.

Jacky takes a break with the talent Photo courtesy of Jeff Koga

Jacky takes a break with the talent
Photo courtesy of Jeff Koga

A Lolita

In the second segment, the script uses the transition moment to create arguably the best sex scene in the film.

Stepdaughter Dakota Skye is struggling with a negative self-image and claims she has good reasons for wanting breast implants. Stepfather Ryan McLane hopes to quell her demands and insists via an over voice that his “intentions were innocent,” at least in the beginning.

Their disagreement quickly persuades her to pull up her shirt. With perky boobs staring at him, Ryan covers his face in feeble protest. Dakota’s invitation is up front. “You’re not my biological dad.” He concedes her assets are “incredibly beautiful” and the transition moment hits like freight train. A few kisses and the sex is underway.

Ryan and Dakota Photo courtesy of Jacky St. James

Ryan and Dakota
Photo courtesy of Jacky St. James

This episode has a different feel because the players are more youthful. Athletic and hard bodied, Ryan McLane seems much younger than his years. Dakota, on the other hand, is Lolita-like. Obviously, St. James paired these two so that the hardcore is anticipated when the performers first appear. In other words, such a step dad/daughter encounter is possible when age differences are minimized.

As the sex heats up gonzo style, Dakota screams “Please fuck me, Daddy” in the best of BDSM tradition where submissive women deliberately seek older men for “age play.” Incidentally, this small touch sets up the third episode starring Carter Cruise and Steven St. Croix which will delve into the power exchange common in BDSM.

While Dakota is getting her fill, Jacky St. James’ talent for placing explanatory objects about her sets steps up once again. In the background is a Grecian-type urn or amphora sitting on a pedestal, a reminder that the ancient Greeks believed the penetrated person, rather than the one who penetrates, gets the pleasure from sex. Dakota’s toe curling verifies their wisdom.

Following the pop shot, Ryan’s voice over embraces the Lolita shadow. “That’s how I convinced my stepdaughter to stay a sweet young girl as long as possible,” he says.

Please Daddy!

Steven St. Croix is a stepfather with an undisciplined daughter (Carter Cruise) who parades into his office, boasting that her mouth is her classroom asset. When Steven, whose business success hovers over the scene, gets annoyed, she retorts, “You can get farther in life by sucking cock than working hard.”

“If you were my daughter I’d spank you,” Steven growls. Dropping her pants, Carter goads him with, “Pretend I’m your real daughter.” He obliges, giving her a few whacks, then tries to get back to work. Unfazed, she taunts him about his porn mags and infatuations with college girls.

This episode has a strong age play component and high believability because parents do spank kids. But it doesn’t end there; the spanking is foreplay and suspension disbelief will soon be set aside when the sex gets rolling.

Carter tells Steven they are both screwed up and when she demands, “I want my Daddy to spank me,” the transition moment occurs. The viewer is immediately in the BDSM arena watching the players act out their dominant/submissive roles. “Brat,” “bad girl,” and “baby girl,” are thrown around as Steven manhandles her to intensify the sex.

Carter Cruise Photo courtesy of Eddie Powell

Carter Cruise
Photo courtesy of Eddie Powell

Hair pulling, choking, spitting and slapping heighten the show. By the way, BDSMers appreciate a denial moment. Carter’s sucking wants a workout, “Please daddy, please daddy,” she begs, but Steven won’t let her. It’s all part of the game before she gets her wish.

In the background there’s a small statue of a raging bull, typical of a stock broker’s office, snorting and bellowing as if awaiting his turn. After the pop, Carter, whose orgasms sweep over her with a dead quiet, dips her fingers into Steven’s closing statement and licks away.

Disbelief suspension briefly returns; Steven notes that he now pays all her bills in the best of sugar daddy fashion.

(Note: The Carter/Steven sex scene lasts approximately 28 DVD minutes. At its beginning Steven’s watch reads 4:10 and when the sex is a wrap, the clock behind the desk is at 5:55, corresponding closely with the last shot of Steven’s watch at 5:50. Breaks discounted, the cinematic results are impressive.

Making a porn movie maximizes budget and time. Most of the money goes to talent who can turn on when the lights are up. Unfortunately, appreciation is rarely extended to editors whose skills foster everyone’s success, so kudos to Gabrielle Anex!)

A Virgin?

In the final vignette, “dad” (John Strong) is having sex with everyone but his wife. Though he wants to be a role model for his twenty-year-old stepdaughter (Ava Taylor), an opportunity arises he can’t refuse.

Ava Taylor Photo courtesy of Sweet Sinner/ Mile High

Ava Taylor
Photo courtesy of Sweet Sinner/ Mile High and AVN

The bookwormish, but hardly shy, Ava wants to know how many women he’s nailed (a hundred, John replies) and coyly asks if he’d like to deflower a virgin. Dad hopes Ava won’t tell her mom because he’s game.

“If you weren’t my daughter, you’d be naked right now,” John says, maximizing his Lothario come-on.

Ava eagerly strips, sporting tats and piercings that highlight a shaved pubis. This is a virgin? Not on your life, but it is the transition moment, dissolving a weird situation in which a sexually well-traveled stepfather is willing to bang his untouched stepdaughter.

Chuckles abound when dad asks if his step sweetie knows how to “suck a cock” and if not, would she like to learn. Of course, that’s silly because Ava Taylor is a pro; she deep throats and sticks out her tongue for the pop shot, no virgin here! Suspension of disbelief aside, Ava is an exotic beauty with superb oral skills and a great career in front of her.

This final episode is all in good fun and there is never a moment when the viewer is in doubt this is porn, pure and simple.

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