Tag Archives: Maddy O’Reilly

Sarah Vandella: Open to it All

by Rich Moreland, November 2018

This is the final installment of my day with Dan O’Connell. The older woman/younger woman theme of the shoot that afternoon paired Sarah Vandella’s porn maturity with Elsa Jean’s  youthful appeal.

Much to my pleasure, Sarah put aside some time to chat about her career and the importance of seasoned performers in adult film.

All photos are credited to Kevin Sayers.

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In the world of adult film, veteran performers are a treasure. Any girl who has shot for over a decade is wise to the tricks of the trade and has incredible staying power. Best of all, she knows how to keep her brand fresh and exciting.

With those thoughts in mind, meet the lovely Sarah Vandella, a pure delight.

On a beautiful fall afternoon, Sarah and I took a few minutes before her scene with Girlfriends Films’ director Dan O’Connell to discuss a subject that permeates porn today: the rise of the cam girl and what that means for the industry as we’ve known it for the last two decades.

Before getting into Sarah’s opinions and insights, a little background info is appropriate.

Born in the early 1980s, Sarah’s parents blessed her with a spontaneous, easygoing attitude that influenced her adolescent years. When adulthood greeted her, the sex industry appeared on Sarah’s agenda. She worked in a porn shop at twenty-one and was dancing at twenty-two.

This engaging beauty shot her first scene in 2007 at the age of twenty-four.

Older, Powerful Woman

We talk about being an over-thirty performer, the MILF image, if you will, by porn standards.

“Since I have entered my thirties, my sex drive and desire has grown into a new area,” Sarah begins. “I’m definitely more open-minded when it comes to certain things than I was in my twenties. Once you have a little experience coming into your thirties, you’re just adding to your resume in terms of being an actress.”

Does this evolution create a better performer?

“I definitely think that women in their thirties can be considered better performers. However, there are some incredibly sexually attuned ladies in their twenties that make just as great performers.

“There’s definitely something to be said for a woman with a little more experience.”

She amplifies her comments by suggesting that an older, powerful woman is pretty sexy, citing the “step mom thing” (a version of MILF) as one of porn more popular taboos.

The New Porn Girls

The conversation shifts to cam girls. Are they the new porn girls?

Sarah’s reaction reflects what I’ve heard from a couple of directors.

“To take any average cam girl and try to turn her into a superstar won’t work,” she says. But the daughter of liberal parents concedes that there are exceptions who have done some “mainstream porn stuff,”, commenting that “the cam girls that turn into performers are the special ones.”

But shooting for studios is demanding and not for everyone.

“I don’t feel that just any basic cam girl can overnight or over a year’s time become the next Ginger Banks. I don’t find that to be reasonable.” [Ginger Banks is a webcam model who produces her own porn vids]

The native New Yorker goes on to say that these girls “have a built-in fan base” and are “available to their fans” online, of course. As a result, some have reached porn star status. “They make their own videos and have them available on their sites.”

Sarah quickly adds a personal note. “I wouldn’t call myself a cam girl because I never cammed until I was a porn star.” Now she does cam “on occasion,” this blonde stunner says.

Intimacy and Connection

Has camming changed the adult business?

“First of all, porn has changed, as you know. We don’t have adult stores anymore. Distributors are dying. Everything is online now. Thank God for fans who still support the websites,” Sarah says.

Technology has forced the adult business to reposition itself. Where does the cam girl fit into this new business model?

“Cam girls provide a certain level of intimacy and connection that not every porn girl has. When you’re camming you’ve got to open yourself to conversation, to sex play, to help instruction, to be that all-around fantasy girl. Porn stars aren’t available to their fans that way.”

As we’ve suggested, camming is much different from shooting video, right?

“Absolutely,” Sarah says. But there is a positive in camming. Fans have high expectations for online models, she points out, and that pressures established porn performers to “keep up with these girls who are giving these fans so much attention.”

To emphasize response, Sarah explains the cam girl advantage.

“They’re just so easily accessible. They’ve made it their priority. I really admire a lot of them, truly. I think they’re hard working girls. They keep their schedule; they never flake. They can’t afford to. It’s their show, their name and their brand, and also their income.

Waiting on Dan.

Empowerment

I suggest that camming may be the ultimate empowerment. Sarah concurs, but insists that camming “can be brutal, just like being a dancer,” the other job that cultivates the personal touch.

From her perspective, it’s not easy dealing with the grind of her three entertainment personas—part time dancer, film actress, and sex worker—Sarah says. However, through it all rewards do show up.

“There’s days when you get to the club and nobody wants a dance from you. Nobody cares that you do porn. Those days are rough. Then you get that one guy who is your biggest fan and he buys ten dances from you and it makes your night.”

It mirrors the online girl’s experience, she believes.

“Much like camming, you can be sitting there in your little room and waiting and waiting. You’re beautiful and you’re ready to go and time keeps on ticking until the next day, and that’s your lucky day.”

This well-established porn model offers one more thought.

“Like we said a few minutes ago camming is the ultimate empowerment in terms of being in control of your finances because you don’t need a studio, you don’t need an agent. You don’t need to get in your car and drive anywhere. It costs you nothing to put make-up on and put on a cute outfit and get your toys ready.”

All in all, she concludes, “I feel a lot of these cam girls are hustlers and want to make their money while they can. They’re smart about it. Those girls never quit and I really admire that.”

Get a Little Messier

Finally, how does Sarah maintain her on-screen freshness because sometimes porn is a yawner in its repetitiveness?

“Indeed. It sure is,” she responds, then describes her formula for success.

“I keep pushing myself and my boundaries as a performer as long as I’m comfortable with them. So, maybe going a little harder, a little rougher, different positions, or going in the opposite direction and being more sensual and connecting more with my partner. Giving that softer side.

“We continuously switch it up and push ourselves in all directions so we’re never doing the same thing.”

I joke about creative oral sex and Sarah comments with humor, “A blow job is still a blow job, but you can do a seductive blow job and a not very seductive blow job.”

Spoken like a true veteran.

“I think that when a girl keeps pushing her boundaries, she tries to go a little harder,” Sarah adds. “Maybe she tries to deep throat a little more, get a little messier with it. As long as you’re showing genuine interest and desire to be there on-set, that’s the key [to staying fresh].

“Yes, oral sex can be repetitive. But if it’s a Riley Reid or a Maddy O’Reilly, you want to keep seeing their new scenes because it’s so fucking hot and you love it,” Sarah notes with appreciative excitement.

What is in her future porn-wise?

“I really admire ladies like Julia Ann and Lisa Ann who have put their time into the business. They have evolved with age.

“So, you never know. I’m open to it all. I would love to have a movie deal, do feature work and/or gonzo. I’m a lifer. I never want to stop,” Sarah proclaims with her dimpled smile that I’m certain her fans have come to love.

Elsa Jean enjoying the afternoon while waiting for her shoot with Sarah.

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Sarah Vandella’s porn resume has produced seven AVN Award nominations, an XRCO Award and one from Urban X.

She can be followed on twitter @MssSarahVandella

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AEE 2017: Kasey Warner

by Rich Moreland, February  2017

My thanks to Girlfriends Films for providing some of the photos in this post.

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Talking with the stars of films I’ve reviewed is always a treat. At this year’s Adult Entertainment Expo, Kasey Warner fell my way, an expected surprise.

A text and a meeting at the AVN booth led to an interview after her signing time.

I’m interested in Kasey’s perspective on B Skow’s Color Blind, a film that was nominated for Best Drama, Best Director, and Best Screenplay at this year’s Awards Show.

She plays an unsighted girl who falls in love with a man of color.

To read my review of this socially significant film, click here.

colorblindcover

 

I Can Hear Your Voice

I asked Kasey how she prepared for her role.

“B Skow sent me some clips of a girl on YouTube and said study her videos and pick up on her mannerisms so you can play a convincing blind girl,” Kasey remembers.

At first, this adorable brunette realized that the YouTube girl wasn’t doing the things that seemed “stereotypically blind,” something she would have to take into consideration in her acting.

“At the beginning of filming I was trying to portray a blind person as blind people actually are, but then as it went on, [I started] doing the things that people do when they act blind.”

She references her eyes shifting around, for example.

Skow picked up on her mannerisms, understandable because he directed Maddy O’Reilly in Daddy’s Girls who also plays a girl without sight.

Kasey recalls his reminder, “‘Don’t look at people in the eyes, [because] you can’t see.'”

It was a struggle at first and she remembers telling Skow, “I can hear your voice and I can center my ears to find your voice. So it’s kind of hard trying to find a medium between a realistic blind girl and a girl that people could watch and say, ‘Oh, she’s blind.'”

But, she pulled it off!

Feeling it Out

The opening scene in the kitchen sets the tone for a powerful film. Were the scenes shot in lockstep with the screenplay?

“That actually was the first thing we filmed. I don’t think every scene was filmed in chronological order, but I do think that the team tried to have it that way because for professional actors it is a little bit easier to go through the movie and kind of feel it out as you go,” Kasey replies.

“By the second day I was is in the groove of a blind girl,” Kasey notes with a smile.

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And that was no mean feat.

“When you’re shooting a porn movie you don’t get as much time to practice,” Kasey explains. “You don’t have a table read, you don’t have run-throughs. So I definitely felt like as it went on I got more into my role, so that was good.”

No doubt, her performance is impressive.

Not Typical Gonzo

Kasey’s sex scene with Isiah Maxwell is far from a gonzo shoot. There’s a gentleness in it.

How did she balance being sightless and romantic at the same time?

Isiah Maxwell

Isiah Maxwell

“I was obviously already in the character and I love Isiah. He’s the sweetest guy in the world so it’s not hard to have him be my boyfriend and be all lovey-dovey with him.”

Because of her character’s circumstances, “each scene is a whole new experience” for the girl, Kasey says, and “I was able to use that to make it seem like it was new for me.”

In other words, her scenes had authenticity.

I suggest that losing virginity in the real world is hardly a romantic experience.

Kasey concurs.

“I read one review where they didn’t like the sex scene and I understand that because it’s not your typical gonzo scene and it’s not me riding like a crazy person. I am a blind girl from a sheltered racist family losing my virginity. It’s supposed to be kind of scary, timid, and very emotional and romantic because that’s what it is.”

Adriana Chechik

Adriana Chechik

Fans should understand that portraying a certain character does not mean every sex scene is an Adriana Chechik scene, Kasey points out. (Adriana plays her sister in the film and was voted AVN’s 2017 Female Performer of the Year).

She says fans often want gonzo “to be every scene” but her character’s situation doesn’t lend itself to that. “I’m not going to be on top, doing crazy stuff like ‘choke me, Isiah!'” Kasey laughs.

Filming with Skow

“I love shooting with B Skow because he allows me to do scenes that aren’t just, ‘Be my Stepdad, Again!’ It was really nice to be able to shoot a movie that really had some meaning behind it,” Kasey says.

Picking up on Color Blind’s theme, this East Coast girl remarks, “It was nice to do an interracial movie where the whole point is that we’re all the same.”

The idea is important to Kasey because she was on board with IR shoots as soon she entered the industry. It seemed natural to her, but she was in for a surprise.

“I didn’t know that some girls hold out on that.”

But no matter. Even if she had been aware of not doing everything right off the bat, Kasey wouldn’t have changed her approach to her career when it came to IR.

“It’s dumb to discriminate. The whole point of me being blind is I can’t see color so I’m the girl who says, ‘Why shouldn’t I have sex with this guy, I love him. He’s great.'”

At this point, Kasey interjects that too much of interracial porn is gonzo-centered, just another white girl banged by a black guy. “Usually it’s like, ‘Woo, you’re my black babysitter!’ I don’t know, some dumb stuff [like that].”

Focusing on Emotion

I’ve reviewed enough B Skow films to understand his intensity and his endearing maverick status. I explore this idea with Kasey.

B Skow

What makes Skow such a spirited and impassioned director?

“He refuses to adhere to what porn says he should do to make the most money. He’s not going to shoot the most generic, asinine thing just because ‘Big Butts 37’ is going to sell more than a politically, racially-fueled movie with a message,” Kasey says.

“He  really cares and he doesn’t care that some people might not like it. This is what is important to me. It’s nice to shoot with directors who are passionate [about their work],” Kasey explains.

“That allows me to do a good scene because it’s hard for me to care if the director doesn’t.”

My final question on the film concerns its shocking finale.

Because her theater experiences in her student days enables her to feel empathy for the characters she plays, Kasey is good at focusing on emotion and that showed up as the film closes.

But there is more. Kasey praises Steven St. Croix’s portrayal of her racist father. His intensity created the energy she absorbed to enhance her performance.

Steven St. Croix. Photo courtesy of AVN media

Steven St. Croix.
Photo courtesy of AVN media

Were her tears spontaneous?

“Yeah. I was like it would be cool if I cried but I didn’t mean to. But the emotion was building up, I let it happen.

“The PA had to leave the room because he was going to start crying. Because there was so much emotion, I garbled through the speech a little bit. I was glad they were able to get the crying and the speech through editing.”

Sexology?

Kasey and I are from the same part of the country, just outside Washington, DC, a continent away from LA. This interview is like old home week for us so I inquire about her background.

What motivated her to go into porn?

kw1

The school she was attending had a stem program (science, technology, engineering, math), Kasey explains, but it was not for her.

“I’m not really into any of that. I just went there because they gave me a big scholarship.”

She didn’t much care for her classes.

“I wanted to pursue a culinary career or get a degree in sexology and study human sexuality professionally.

“So I’d be sitting in my room just watching porn—not masturbating or anything—thinking this is really good porn, you know, just appreciating the cinematography and the acting. It occurred to me, ‘Hmmm, that’s an actual job that people have. I’m eighteen, a young cute girl, I could do that.

“So I just packed up and moved to California and started working.”

Aren’t we glad she did.

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The 2017 AEE Extravaganza: Part One

by Rich Moreland, February 2017

I just returned from my annual trip to Las Vegas for the adult industry trade show. As usual my photographer and I teamed with Steve Nelson, the editor of Adult Industry News, to cover as much as possible in our brief four days.

This post is the first of two parts and represents only a portion of what we recorded.

A note on the hyperlinks. If a company’s online home page displays hardcore photos, I did not include the hyperlink here as it may not be suitable for all readers.

Photos provided by AVN are credited where appropriate.

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58791f73e034c-avnshow

Trade shows are for networking, marketing new products, attending seminars, and in the case of the annual Adult Entertainment Extravaganza, oops, I mean Expo, canvassing porn talent.

This year’s show was one the best I’ve attended. Here are few highlights.

On the production side of the business, I had another opportunity to interview the always busy John Stagliano of Evil Angel. He gave me some thoughts on the incoming administration in Washington DC (my part of the country, by the way). Later in the week, John participated in a seminar on the same topic.

2017-01-18-07-00-04

As the week was winding down, I renewed acquaintances with Moose of Girlfriends Films. Though they no longer have a booth in the show, Girlfriends has upped its game on the distribution side of the business and Moose is in Vegas to refresh his industry contacts.

I’m always interested in emerging companies poised to make a splash with a new idea. One relatively recent player is Royal Empire Productions. I interviewed the owner, Robert Morgan, to get his take on what he calls “realistic porn.”

Upbeat

Negotiating The Joint and the Artist and Muse Halls on opening day was easy, the crowd was a little sparser than I anticipated. By week’s end the fan traffic picked up considerably and the show was bustling with an upbeat tempo.

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The refreshing part of the AEE experience is running into people unexpectedly. Here are a few examples of my week.

A text exchange led to breakfast with seasoned pro, Natasha Nice. We discussed the possibility of her writing a post or two for this blog.

Photo courtesy of AVN

Photo courtesy of AVN

The super fabulous Chanel Preston gave me a few impromptu moments as did the BBW April Flores when I found her chatting with friends near the AVN booth in Artist Hall.

A couple of times I stopped by Bang.com to pass time with the two legends of porn, Casey Calvert and Maddy O’Reilly.

Love these powerhouse girls.

Maddy and Casey Photo courtesy of AVN

Maddy and Casey
Photo courtesy of AVN

And, by the way, I visited with Chris Cane of Foxxx Modeling where I met a new girl who is bound to become a star, Emma Hix. My interview with this sweetie follows in another post.

Oh yes, timing sometimes fails me. I attempted to persuade a hurried Riley Reid to pause for a “hello” but I might as well have tried to hail a bullet train!

New Face of Porn

A new girl is solidifying her place in porn: the webcam honey. This year’s AEE rolled out the welcome mat for these dynamos who float between real hardcore and solo performances via computer, all in direct connection with their fans. MyFreeCams and Chaturbate seduced show goers with face-to-face fun.

Emma Chase Photo courtesy of AVN

Emma Chase
Photo courtesy of AVN

I met Emma Chase, a Chaturbate girl who stopped me for a moment to demonstrate with her computer how our conversation was soaring through cyberspace. Emma lists her talents as simply “entertainer.”  She’s a delight and if Chaturbate is your thing, go to Google and search her out.

Likewise a goth looker named Eliza Bathory, who markets herself as a model, camgirl, and artist, was at her laptop among the horde of Chaturbate girls. Since I’m fascinated by facial piercing (Eliza has a bunch) I promised to return later to get an interview. Unfortunately, she disappeared into the nether regions of the show. Very Dracula-like.

2017-01-18-09-59-36For the oglers, the Chaturbate crowd had the distinction of being the least dressed. Lots of flesh with pasties all around.

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VR

From the marketing side, let’s not forget VR. The Cam4VR booth offered a rousing example of what the whole virtual reality thing is all about; it’s the wave of the future.

Photo courtesy of AVN

Photo courtesy of AVN

I interviewed Ela Darling and among her many talents is a love of VR.

ela4“I am the ‘Queen of VR Porn,'” Ela says, “and the leading voice in the VR industry for the adult industry. I speak at conferences all over the world. People in that space really make room for me. They respect the work that I do, they respect us as an industry and understand that we are an important for the future of VR.”

Direct engagement with the fan is where porn is going in this age of social media, Ela explains.

“We just launched Cam4VR this past year. I’m the world’s first VR camgirl. We’re getting ready to introduce a new camera that’s really cool and a voice-to-voice experience and a private chat network. When you put on that headset, you speak. The performer hears and gets right back [to you].”

Rearrangement

From year to year, the AEE rearranges its spaces to maximize the fan experience. The most obvious this year involved the setup for BDSM enthusiasts.

Photo courtesy of AVN

Photo courtesy of AVN

The bondage carnival known as The Lair relocated from the second level of The Joint to the floor of Artist Hall, a move I’m sure to increase its visibility and fan traffic.

BDSM equipment and a demonstration or two (All models were fully dressed, there was more flesh on a Chaturbate girl!) highlighted its activities.

Lastly, every year I come away with the same thought on the show. Artist and Muse Halls are easier to negotiate than the tight spaces of The Joint. Being a bit claustrophobic, I do appreciate the efforts of AVN to keep movement as smooth as possible!

Stay tuned for part two of this report.

Easy entrance into the show Photo courtesy of AVN

An easy and convenient entrance into the show
Photo courtesy of AVN

 

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Daddy’s Girl 95, Part Two: To Be a Good Girl Again

by Rich Moreland, September, 2015

With the Daddy’s Girls series, B Skow employs his Progressive Porn framework to explore a well-scripted vision of irony and self-deception. By weaving the story around psychological dynamics, he examines a sexual fetish that is often quickly labeled without being well understood. Skow succeeds by focusing on the allure of the daddy complex that draws men into relationships with willing younger women. The results can disrupt and restructure families, changing the interactions of step relatives and opening up an array of sexual options that challenge our definition of what is acceptable.

Having said that, here’s the summary of my interpretation of the Daddy’s Girls saga as it stands now. This analysis is only one way to look at these intriguing films and I encourage you to watch them and reach your own conclusions.

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The director at work. Photo courtesy of AVN

B Skow
Photo courtesy of AVN

The Illusion

Quincy is bedeviled by her identity and her own fetishes. Emotionally crippled by her daddy complex, she compensates by being a faux prostitute while denying such a label would ever describe her.

Before her sex scene with Marla, Quincy screams “Why?” in a self-indictment that begs her to be a “good girl again.”

Quincy’s conundrum shows up repeatedly. She loses her Goodneighbor51 customer when Samantha’s father Dale passes away. With a dose of  twisted irony, Skow tells us Dale was Quincy’s real father who masturbated to his daughter’s naked performances.

Later Quincy learns that Mr. Jefferies is also an online voyeur, another “daddy” customer, and offers him sex under the auspices of doing it for Bob. As we have seen, it becomes a threesome in which Marla, the true angel of the tale, quiets Quincy’s demons by also giving herself to the boss.

And don’t forget the unethical Tom, who uses his profession to “persuade” Quincy to act out her daddy desires with him. Just put his name on the list.

At no time until the final minutes of the film does Quincy actually stare down her internal torment, her longing for sex with Bob. Lost in a morass of daddies, the real perversion is Quincy’s forced sex with her own father, Dale, in the first film. It’s done through her own volition, a deliberately controlled moment in which Quincy bullies every metaphorical “father” who has left her fetish wanting.

Quincy

Quincy

In effect, Skow tells us Quincy’s behavior is really self-loathing generated by her inability to control her demons.

Because Quincy refuses motel sex with Goodneighbor51 and the prostitute label that goes with it, she violates Samantha in response to his demand for a show. Captured on her cellphone, it’s her own sister Quincy unknowingly ravages for her father’s entertainment. It’s Dale’s family, not Bob’s, that is plagued by the incestuous carnality of the narrative.

In the end, Quincy wears her own mask. How do we know? She pleads with herself “to be a good girl again.”

The illusion of Daddy’s Girls 2 collapses in that instance. Quincy, who has traded a Biblical “eye for an eye” with Samantha–the sadly misguided righteous angel at the end of the first film–finally seeks genuine redemption.

What confronts Quincy is a harpy in an orange prison jumpsuit, a blind girl incarcerated for her own evil deeds, that stands between her and peace. The irony? It’s Quincy’s own sibling that tortures her, a part of herself revealed in a creepy hand dawn picture in a bedroom that now seems so far away.

Siblings in better times.

Siblings in better times.

Like school girls on a playground, Samantha taunts Quincy with a repeated chorus of “you fucked your father,” the never to be forgiven sin.

The Real Daddy’s Girls

So a story that began in contrast, ends with similarity. Quincy is partially blinded and Sam has no vision. The bright airy colors of the first film that stood for hope and happiness are gone in the second.

Are Sam and Quincy the real daddy’s girls after all, sisters now devoid of a father?

Not quite, because Daddy’s Girls 2 offers up a positive message.

The prostitutes Marla and Oralee, honest and caring, are the real Daddy’s girls, metaphorical “sisters” and professional fuck buddies in their own right. To put it another way, whoredom holds no deception. It hasn’t throughout history and it doesn’t here. As mentioned earlier, Marla and Oralee serve as the Greek chorus, commenting through their actions and words on the truth behind the façade Bob structures to excuse his Lolita fascinations.

Quincy’s redemption is to join them one day, at least in the spirit of their humanity.

Quincy becomes one.

Quincy becomes one with Marla and Oralee.

The Dance of Deception

The Daddy’s Girls saga exists on several levels.

First we have the biological sisters of Samantha and Quincy, both fathered by Dale.

Marla and Oralee represent a second level. They are Bob’s prostitutes, sympathetic figures in serving his perversions albeit for pay. Unlike Samantha and Quincy, they “see” the truth and aren’t afraid to express it, as we have noted.

On a third level, Daddy’s Girls is about younger women and older men, the May-December duality. Skow’s comment on these arrangements is terse. Sometimes they are a forbidden test of faux incest that can be exciting if acted out in the manner Quincy seeks. At other times, the pay-as-you go arrangement Bob establishes with his hookers serves up the sexual menu.

And, don’t forget to include Marla and Quincy in the mix. As step relations in a dysfunctional family, they lend some legitimacy to the combination of mother/daughter and as age contemporaries, a pairing of sisters. Are they the real daddy’s girls, after all?

Closely related to the age play is simple lechery illustrated by two power players: Mr. Jeffries, the boss whose fantasies are fed via webcam and Tom the therapist jacking off before screwing his patient . Oh yes, remember Dale, DaddysGirl95 customer? He joins the group.

indexAll things considered, B Skow leaves the viewer with a final level. Everything sexual is a fantasy. We conjure up whatever amuses our personal fetishes.

Simply put, deception dances everywhere and everyone wears a domino mask just like Carnival party goers centuries ago.

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As I did with the first film, I have waited until the final installment of Daddy’s Girls 2 to salute the performers who brought the script to life.

Riley Reid, Maddy O’Reilly, and Alec Knight reprised their roles as Quincy, Samantha, and Bob.

Capri Cavanni is marvelous as Marla as is Kassondra Raine as Oralee. They are the unsung performers in the film.

Anthony Rosano (Tom) and Ryan McLane (Mr. Jeffries) are widely recognized in adult entertainment for their acting acumen, reliability, and on-screen adaptability . . . true veterans in every sense.

A final nod goes to B Skow for elevating these films to art. Unfortunately the original Daddy’s Girls made in 2013 was not recognized with industry awards. Here’s hoping the sequel avoids that fate.

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Daddy’s Girl 95, Part One: The Goodneighbor

by Rich Moreland, September 2015

This is the wrap up Daddy’s Girls, a product of Girlfriends Films and director B Skow. As I indicated with the first installment, these posts represent only one interpretation of a film that is far deeper in meaning and imagery than I’ve touched upon here.

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Jerk off Babe

Bob’s daughter Quincy uses her Daddy’sGirl95 avatar to promote her webcam identity as a “jerk off babe.” Posing as “barely legal” with her schoolgirl outfits, Quincy is hardly a juvenile and shows a biting nastiness that festers beneath her daughter facade.

Like the film itself, Quincy is hard to pin down. She tells her mother to “fuck off” and sweetly talks to her daddy.  She is the personified bully who verbally assaults Samantha, “you took my daddy now I’m gonna take you . . . you shouldn’t take what isn’t yours,” before sexually ravaging her. The whole show is live on Quincy’s cell phone for Goodneighbor51’s pleasure.

On one hand, Quincy mirrors the dysfunctional families in this charade while challenging their character on the other. She is noticed, yes, but too often dismissed with the hope that she will blend into the background like the pastel imagery that surrounds her.

As the story progresses, Quincy increasingly orchestrates the action, particularly in the final sex scene with Dale whom she believes to be her biological father. It is a metaphorical revenge “killing,” so to speak.

She accuses him of being “the pedophile that’s been jacking off to his best friend’s daughter,” reminding Dale he’s now had sex with his best friend’s wife and daughter. Essentially, Quincy sees herself as a daughter of two fathers, one she desires and the other she loathes. It’s ugly in tone, like her taking of Samantha.

 

Quincy and Dale

Quincy and Dale

Overcome with wrath and punching Dale into unconsciousness, Quincy is immediately remorseful and calls for her “father figure” to come to the rescue.

Conveniently, the mask-wearing Bob is in the adjacent bedroom, doing the deed with his hired playmate Marla. Earlier in the film when he was having performance issues, Marla put on sunglasses, called him “daddy” and his arousal skyrocketed. No problem, covering the eyes covers the perversion which is also “covered” in her bill. Everyone pretends and “sees” nothing.

On the surface, the contrast between the daddies is obvious. Bob remains healthy; Dale is dying. But the rest is muddled because both daddies are sexually tainted. Both desire younger women with Dale’s being the online variety while Bob can’t let go of his lust for Samantha.

On the other hand, Quincy’s longing for Bob, whom she knows is not her real father and therefore fair game, won’t go away. To complicate matters, he is the manifestation of the larger “Father Complex” for both Samantha and Quincy.

Both girls are a contrast of desire and anger. Sam directs her disgust toward Bob for abandoning her and bitterly reminds him that she wore knee socks and called him daddy when they did the dirty. Quincy, as pointed out above, takes out her rage with a father rape of sorts driven by Dale’s past dalliance with her mother.

Odile and Darla Crane

Odile and Darla Crane

In the meantime, Dale’s wife Iris (played by Darla Crane) finds the “jerk off babe” and her unwilling and unsighted playmate on his phone. . . a secret revealed. Devastation follows and she rushes to Gina, Bob’s wife (played impressively by Odile), for solace. To soothe the moment, Skow throws in a MILF scene between two well-respected adult veterans.

Seeing Everything

In the closing scenes of the film, the families gather together and there are apologies all around. Sincerity floats over the room, but doesn’t really land anywhere. This sorry lot is a collection of “masks” vainly trying to make things well enough to survive. Quincy becomes the chastened child and the other “adults” lamely tuck away their past temptations to bask in the bright patio gathering.

With cane in hand, Samantha, the narrative’s emerging avenging angel, excuses herself. Wearing an actual mask, her sunglasses, she remarks that she “sees” everything and everyone can do better than ask forgiveness. It’s a criticism that carries religious implications.

On the set for Bob and Dale in hopeful reconciliation

On the set for Bob and Dale in hopeful reconciliation

Dale and Bob reconcile with Dale pontificating about their relationship, telling Bob to step up and become a father by abandoning his mask and self-pity. Bob is properly contrite, giving Dale a pass he doesn’t deserve. Dale has his own concealed perversion as Quincy’s Goodneighbor51 customer who suggests she meet him at a motel or give him a show. Quincy, who hides behind her online facade, opts for the latter and, as mentioned above,  sexually attacks Samantha for his entertainment, not knowing who he really is. Of course, circumstances now reveal the Quincy/Samantha scene to be an outright perversion between sisters, but no one seems to quite get that.

But who are the girls, really? Biological daughters incestuously entertaining their father (Dale) or metaphorical possessions of a Lolita freak (Bob)?

Always Close the Window

In the final scene, Bob tucks Quincy into bed as a father would his little girl. In contrast to Samantha’s single bed, unwelcoming to a partner but subject to violation, Quincy’s is a double, an invitation to just about any “daddy” or “mom” as we will see in sequel to this classic, Daddy’s Girls 2.

She asks Bob if Samantha or mom will ever forgive them. He responds with “sometimes you just have to live with things,” a sharp lesson Quincy will learn in the next film. Preparing to let her sleep, Bob mentions she’ll be going to the facility in the morning, implying this her last night with her parents.

The bed is awash in pastels, pink, brown, green, blue, soft colors, typical of Quincy, a sinful little girl blended into the landscape like the title frame at the film’s opening.

Before he leaves, Bob asks if he should close the window. Quincy wants to feel the breeze, she says. Folding her hands in a prayerful mode only St. Agnes could truly appreciate, Daddy’sGirl95 is likely hoping for a “do over” in the manner of kids on the playground who haven’t grasped the meaning of disappointment and failure. With eyes closed, her smile is sweet and innocent.

Like Samantha who earlier lay awake in her bed, Quincy now is waiting. But imagery takes an odd turn here. Quincy is transformed into the peaceful resolution of a corpse in an open casket funeral. Perhaps it is fitting, after all . . . metaphorical death and resurrection await a new more visible mask.

The camera pulls back a bit and the open window appears to the right. A knife is laid on the sill, then a cane. After a pause, a with face concealed by sunglasses emerges from the night riding a most evil cool breeze.

*          *          *

The cast of that brings to life this fabulous film.

The cast of that brings to life this fabulous film.

I deliberately left out the identity of the central actors who raised this movie to perfection, preferring instead to honor them at the conclusion of this analysis. They are Riley Reid (Quincy), Maddy O’Reilly (Samantha), Alec Knight (Bob), and Evan Stone (Dale). As referenced above, they are ably supported by Odile and Darla Crane. Rarely in an adult film does a combination of performances mark such excellence.

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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.

Gardener_54299b4cdac98

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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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Anna Lee, Part 3: Behind the Scenes

by Rich Moreland, April, 2014

This is a brief look at a part of the Behind the Scenes interviews in The Sexual Liberation of Anna Lee.

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Prevalent in adult DVDs is a “Behind the Scenes” segment in which the camera makes impromptu visits with the cast. Fairly standard in its make-up, the backstage lens catches porn performers in their casual moments and is typically filled with small talk and clowning around.

On the Anna Lee set, director Jacky St. James chats informally with three of her stars about the film’s theme, repressed sexuality, examining the issue with a seriousness not usually found in BTS fare. The director, who also authored the script, offers insights into childhood upbringing as a factor in sexual attitudes.

Maddy O’Reilly

An A-list Spiegler girl, Maddy O’Reilly resides at the upper end of the adult industry food chain. Despite her true porn star status, Maddy confesses that her adolescence was similar to that of Anna’s character: sexually reticent physically, but intensely sexual mentally.

Because anything unforeseen could happen, Jacky asks Maddy if she had any concerns about being tied up and blindfolded. Maddy confesses she was definitely a “little nervous” and had “butterflies.” Her arousal level was sky high; she was “heated” and  “sweaty” before the sequence was filmed. But, Maddy adds, getting anxious before shooting sex scenes is normal for her.

“Why are you shy and nervous about sex?” Jacky inquires.

“I’m from a very conservative background,” Maddy says. Her childhood was shaped by the religious community in which she lived. There were “churches on every corner,” Maddy remembers, and going to church “three times a week” was an expectation that defined the norm in her Bible-Belt hometown.

Jacky, Steven St. Croix, and Eddie surround a shy, conservative southern girl. Photo Courtesy of Jeff Koga

Jacky, Steven St. Croix, and Eddie surround a once shy, church-going girl.
Photo Courtesy of Jeff Koga

Maddy’s mother taught her daughter that the simplest physical contact could be misinterpreted as unacceptably sexual and therefore verboten. “Hugging someone was considered loose and not classy,” Maddy says with an innocent smile that bespeaks a small town upbringing and emphasizes once again that church attendance beyond the usual Sunday services reinforced her rural culture’s moral ethos.

“Being hit so hard with a religious background,” Maddy says, caused her to escape the southern backwater atmosphere of her childhood. The result? Porn became Maddy’s personal “liberation.” Entering the adult film business allowed her “to break free” to do sexual things she thought about but didn’t “have the guts” to do in her adolescent years.

Life is “very vanilla back home,” Maddy comments matter-of-factly. “People don’t talk about sex, ever.”

Jacky remarks that being in a sexually driven business must have been a big change for Maddy considering her upbringing.

“Absolutely,” the North Carolina native says. “Because it was so conservative, I wanted to go the complete opposite of that!” Maddy O’Reilly laughs and throws out her arms for emphasis.

“My mom and I never talked about sex until I was performing in the business,” she exclaims. The situation is different today, Maddy’s mother now believes it’s fine to discuss the once forbidden with her daughter. One has to wonder if others in Maddy’s hometown might succumb to their unspoken curiosity and also enjoy some small talk with her.

The Cast of Anna Lee. Photo Courtesy of Eddie Powell

The Cast of Anna Lee.
Photo Courtesy of Eddie Powell

By the way, Maddy O’Reilly’s favorite thing in Anna Lee was being tied up, especially in the St. Andrew’s cross scene where she was “liberated by everyone in the cast.” Jacky asks about Anna’s assignment in which she let other people “worship” her and how that felt from an actress’s point of view. Emphasizing that her co-stars were some of her favorite performers in the industry, Maddy insists that “not knowing” what each was going to do to her was exciting. That’s a stimulating aspect of doing bondage work I’ve heard from other performers, though for the record, not everyone adjusts to the blindfold as easily as Maddy appears to do.

Maddy loved the hot wax but cautions interested viewers to not experiment with real candles. There are special products made for that type of BDSM play. And for the curious, the twenty-four-year-old did orgasm when Johnny Castle skillfully applied the vibrator to her.

Look closely for hot wax residue. Photo Courtesy of Jeff Koga

Hot wax residue.
Photo Courtesy of Jeff Koga

Finally, Maddy giggiles about breaking the handcuffs in her scene with Xander Corvus. Because she usually gets “very romancy roles,” the psychological mood and rough and tumble sex of Anna Lee was a welcome change for her.

Maddy and Xander in the final scene. Photo Courtesy of Eddie Powell

Maddy and Xander in the final scene.
Photo Courtesy of Eddie Powell

For the record, Anna Lee has forged Maddy O’Reilly into a star any feature director should take into account casting his or her next film. Hopefully her hometown North Carolinians won’t hold that against their native daughter!

Jessa Rhodes and Steven St. Croix

In their Behind the Scenes segment, Jessa Rhodes and Steven St. Croix discuss another aspect of Anna Lee, their scene of fantasy sex with an older man. In the film it’s the therapist, Gaige, and the young staffer, Elize. Jessa comments on the “daddy” fantasy it represents and she speaks from experience. That’s “my thing,” she says, though until recently she thought it was “so wrong.”

Steven, a veteran of years in the business, believes the “daddy” issue is “a sublet of the authority figure fantasy,” like a policeman or a teacher. Jessa agrees, “It’s definitely an authority thing for me.”

At this point, Steven offers that his co-star’s fantasy (fetish?) may be a result of her background. Jessa was raised in a very religious home.

“What religion?” Jacky St. James inquires.

“Christian,” the A-lister responds, but offers no information beyond that. Growing up in an environment similar to Maddy O’Reilly’s, Jessa’s exposure to adult material “on a scale of one to ten was in the negative zone. I was in a bubble,” she chuckles.

Joking about masturbating at age eleven, the twenty-one-year-old was unsure of what she had just done, anxieties typical of an adolescent discovering her sexuality. “Did I do something wrong?” she asked herself at the time. “I felt bad.”

Jessa Rhodes Photo by Bill Knight

Jessa Rhodes
Photo by Bill Knight

Recovery from doubt was swift and the native Oregonian entered the adult industry at nineteen, quickly discovering that it’s “a healthy thing to live out your fantasies.” Though Jessa adds that some people don’t want their “dark side” to be seen by others, she assures them it is alright if they do.

Of course, performers in the adult industry can act out their fantasies in a safe environment, an advantage a non-industry person may not have.

Jessa Rhodes eventually realized what most people in business quietly understand. She can separate her “sexual self” from her “day-to-day person” because “it’s ok to be those two different beings.”

It’s an affirmation I’ve heard from several performers. In fact, an adult actor’s life off the set is more mundane that most people think.

Some years ago, an industry PR person mentioned to me that the public often assumes porn stars have unending rounds of partying and sex, burning the proverbial candle at both ends. Not in her experience, she said. Their lives are very ordinary. When I first began writing in the business, a prominent performer let me in on the secret about blogs and other social media that are a vital part of a porn star’s lifeline to her fans. “Sometimes we just make this stuff up,” she said. It’s what people want to read and believe.

A director I know put it best. The set is just about all the sex industry people have the time and energy for, he said, explaining that most performers go home to a typically uneventful American household. Take care of day-to-day needs and go to bed early.

Tomorrow becomes, as a performer friend of mine said, “just another day at work.” Porn is a business, after all.

 

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