Tag Archives: Riley Reid

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.

*          *          *

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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Why Can’t We Have It All? Part One

by Rich Moreland, March 2015

tumblr_inline_niyv8fWLMv1qkrmi0

The Submission of Emma Marx: Boundaries is Jacky St. James’ sequel to her award-winning masterpiece, The Submission of Emma Marx which I had the pleasure to review in three parts here in August 2013. With cinematic partner Eddie Powell, St. James now boldly continues Emma’s odyssey.

Before moving into the film, it’s worth mentioning that sequels are financial risks. Though supportive of her project, New Sensations President Scott Taylor was cautious. “Sequels often flop.” St. James remembers him telling her. “They don’t sell as well. They seldom find that magic of the original.”

Perhaps, but in the case of Boundaries it is every bit as good as it’s older sister and I encourage watching the first film before enjoying the second. If not, the viewer will feel like a late arriving movie goer who takes a seat half way through a story with no understanding of its origin.

Boundaries‘ success is complemented by the reassembled cast. Penny Pax reprises her role as Emma, as does Richie Calhoun as Mr. Frederick. Though porn flirts with the edges of mainstream Hollywood, both players remind us its acting can be every bit as good. Pax is learning her trade, building a resume that separates her from adult’s usual “just give me the sex and don’t ask if I can act.” No doubt St. James’ directing is a crucial factor in the diminutive model’s professional evolution.

Jacky, Penny and Richie.  Photo courtesy of Jacky St. James

Jacky, Penny and Richie.
Photo courtesy of Jacky St. James

Riley Reid is perfect as Nadia and Van Wylde likewise as Ray. Their roles are not an easy sell because Reid and Wylde must come across as a vanilla “cookie cutter suburban couple” snug and homey in their conventionality.

In making the film, St. James confesses that “staying true to Emma and her sexual journey” could not be compromised. The result is Emma as a complexity that intrigues the viewer on various levels. I can imagine that her shadow seductively passes through the corridors of St. James’ mind just as she does in the film’s opening credits and its denouement.

Conceding that her “screenplays hold very deeply personal connections to experiences I’ve had or people I’ve known,” Jacky St. James faces a near impossible task with Boundaries, write a flawless script that moves Emma along bit by bit while confronting the viewer with unsettling issues. The question that captures the film’s raison d’être and St. James’ good storytelling is simple: Does sexual and emotional turbulence reach a satisfactory resolution that spells the end of the story?

Or, is there room for Emma redux, part three?

One thing is evident, Boundaries’ tightly written script is worthy of industry accolades. Indeed, it is as close to impeccable as an adult film can be.

Part of News Sensation’s Erotic Stories line, this second Emma Marx falls into the couples porn genre, yet it is sexually groundbreaking for a date night film. The carnal scenes are integral to the story; nothing is thrown together or gratuitous. Some of the action, however, directly challenges the formula for what the industry touts as comfortable for lovers. But more on that later.

Just Drawing Lines

Emma Marx and Nadia are sisters whose relationship is close considering their sexualities are anything but. In the first Emma Marx, Nadia and Ray “silently judged” Emma’s fetishes. Now they are outspoken, letting her know of “their aversion” to BDSM.

Is this progress?

Over a bland vegan dinner she believes is suitable for everyone (one size fits all, if you will), Nadia announces she doesn’t understand why being tied up and spanked is not abuse. Deprecating BDSM kinkiness with her sappy smile and haughty attitude, Nadia tacitly reinforces her normalized sexuality in a way only modern moralists can appreciate. When Emma mentions consensuality, she is ignored. In an amusing moment, Ray condemns suspension and cattle prods while disgustingly holding a fork with two pieces of the vegan mystery food hanging from it. The real torture in this scene is inflicted on Ray.

But, apparently the happily married duo is not opposed to a little experimentation.

With the superficiality of a Valley Girl who thinks a sip of wine makes her a connoisseur, Nadia announces to Emma the next morning, “Ray and I totally tried BDSM last night and I’m totally a sub.” Kudos to Emma for respecting her sister’s asinine interpretation of sexual enlightenment.

Jacky setting up the scene for Riley and Van Photo courtesy of Jeff Koga

Jacky setting up the scene for Riley and Van. Blurred flowers framed on the wall.
Photo courtesy of Jeff Koga

Here’s the story. In the film’s first sex scene with Nadia and Ray, a blindfold is about as deviant as they get. (She does ask him if she can call him “master” in a laughable attempt to identify with what Emma authenticates.) Having now seen the light while not being able to see, Nadia tells Emma she “completely” understands what a BDSM relationship is all about.

Incidentally, the sex is classic Riley Reid, who is an industry gem. Considering it’s a script-driven vanilla encounter–necessary to set up Emma’s future sexual experimentation–Riley’s smile, spirit, and energy carry the show. On the wall bedside the bed is a black and white photo of two flowers that lord over the sex in front of it. The flowers are blurred, an important image for this film.

Blindfold in place, ready to shoot. Photo courtesy of Jeff Koga

Blindfold in place, ready to shoot.
Photo courtesy of Jeff Koga

Later when the sisters are in the gym, understanding suddenly vanishes. As she gives the elliptical machine a workout, Nadia is clearly irritated. “Trying BDSM was the biggest mistake of my life.” Now Ray wants a three-some, but Nadia slammed the door on that idea, proclaiming that men put women in “sexual situations solely for their benefit.”

Emma’s hint that Ray might want to expand Nadia’s horizons falls flat. “Men do that,” a fired up Nadia says. “They pretend it’s all about you and it’s really about them. They wait for the moment you say, ‘yes,’ and they push your limits.” Annoyed with Emma’s suggestion that Ray wouldn’t cheat, Nadia digs in. “I’m just drawing lines.”

But doesn’t everybody?

Open to New Experiences

Nadia’s indignation spurs Emma to confront her own crisis. Mr. Frederick has presented her with a new contract which she reads line by line in an earlier scene. It is a quest for “Why can’t we have it all?”

Preparing for an office shot. Photo courtesy of Jeff Koga

Preparing for an office shot.
Photo courtesy of Jeff Koga

When she reviews the contract, equality and symmetry are visually emphasized to reflect the supposed state of their relationship. Emma is sitting on a long desk with her legs extended to a Mr. Frederick who massages her feet. The shot has perfect balance regarding the desk: two half full glasses of red wine on each end and a pair of tall plants in floor urns on either side of it. In the background, French doors halve the scene like the entrance into a Georgian manor.

As this segment progresses, brief glimpses of Emma and Mr. Frederick’s encounters are revealed as she goes through the contract.

In one, symmetry is repeated when she talks about training. It is a shot of interior French doors at the end of a hall. Framed prints are on opposite walls to balance the scene. Mr. Frederick leads Emma from left to right across the screen, moving her symbolically from an old definition of her sexuality to a new experience.

“I will not just play the role,” Emma says in reference to being a submissive, “I will become the role.”

When she is bound to pillars in the kitchen a la Fay Wray in King Kong, Emma says, “my body is his to do with as he pleases.”

The Kitchen Pillars. Photo courtesy of Jacky St. James

The Kitchen Pillars with Eddie Powell in the background.
Photo courtesy of Jacky St. James

Incidentally, in the provision having to do with enjoying her orgasms, there is a quick flash of them having sex in a hallway that doglegs to the right, an image that is revisited later.

When Emma gets to the item that involves having sex with other people, she balks. Tense and unsure, she asks if he is bored with her, that fatal relationship blow everyone fears.

This moment sets up the rest of the film. Mr. Frederick orders her to stand up, face him, and masturbate while thinking about someone who sexually arouses her. With eyes closed, she confesses it is Shane (Logan Pierce), the new guy in the office. Emma loses her bearings in a rush of endorphins and says, “I wonder if he’d like me.” Projecting her sexual preferences into Shane, Emma says he’d be down and dirty and insist on violating her with anal.

Logan Pierce Photo courtesy of 101Modeling.

Logan Pierce
Photo courtesy of 101Modeling.

It’s the opening Frederick wants and sex scene number two begins with anal its focal point, a clear break from the couples’ porn formula. To emphasize this shift, Eddie Powell moves his camera over Richie Calhoun’s shoulder to get the standard male masturbatory gonzo shot of a kneeling Penny Pax, mouth at work and adoring eyes looking upward.

St. James and Powell have a dual purpose with this scene. For story purposes, Emma’s exploration is picking up steam, but on another level, they are forging a new path in romance porn. The bondage remains light, adhering to the submission pornography genre popular in today’s market, but the sex is edgier.

Several questions in the film are present here. Mr. Frederick claims he is turned on by Emma’s self discovery, but is he engaging in his own fantasy of whoring out Emma and role playing Shane? In her mind, is Emma mocking her sister, knowing Nadia would never be this unconventional? Or does this exercise add to the unpredictability of Emma relationship that keeps it from getting stale?

There is a deeper question. Is Mr. Frederick gently and firmly nudging Emma forward or is he applying subtle pressure with the bet that Emma’s devotion will give him carte blanche to ratchet up his demands?

Or perhaps what Frederick tells her is straightforward and eerily true. “You don’t have to do anything you don’t want to do. I just want you to be open to new experiences.”

Mr. Frederick and Emma exploring. Photo courtesy of Jacky St. James

Mr. Frederick and Emma exploring.
Photo courtesy of Jacky St. James

At any rate, as Mr. Frederick anally penetrates his submissive, Emma sees and feels the new guy in her imagination. Before the pop, she begs, “Cum on me please, Shane.” Is Emma transitioning to a new experience or enjoying a healthy fantasy?

Whatever St. James’ intention, the scene explores the emotional complexities of BDSM characteristic of submission pornography, or what might be called in today’s culture, bondage chic. For raw sexuality, it steps beyond the inanity of Fifty Shades while pulling up way short of the hardcore fetish elements found on many extreme internet tube sites.

Dumbbells

Back in the gym the options posed for both Nadia and Emma are carefully defined. As the camera moves in on Emma’s treadmill next to Nadia’s elliptical, it floats past a rack of dumbbells that illustrate the choices available to each woman.

The top row contains two smaller dumbbells, both round and equal in size, with a exercise baton nestled in the juncture between them. This is Emma’s next possibility. Both weights are side by side and sexually open with the option of welcoming in a third person. In the same row, but to the far right, are two larger six-sided dumbbells of equal size representing Nadia’s view of her marriage, closed off and solid, or so she hopes.

Should either woman choose an unequal relationship, open or closed, in which her stature is diminished , the options are on the bottom row. Two round dumbbells and two six-sided ones, with the larger dominant one snuggled next to the smaller. Curiously, off to the right of the closed dumbbells is a single and smaller six-sided one, perhaps it is Ray’s suggestion that so infuriated Nadia and her no nonsense answer.

Where will all this drama leave Emma?

 

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“Good Luck with That!”

by Rich Moreland, August, 2013

This is a review of Adam and Eve’s The Perfect Secretary III: New Recruit, a film by Nick Orleans.

boxcover perfect secretary

Like all artists, adult film directors express their personal preferences in their work. For John Stagliano, the sex comes first; the story is built around it. Other directors, like feminists Candida Royalle and Nica Noelle, believe the story should be the reason for the sex. Then there are the directors who love the fetish. This is the case with Nick Orleans’ The Perfect Secretary III: New Recruit.

Despite the allure of a shackled Riley Reid on the boxcover, BDSM is not this film’s kink. Perfect Secretary is a pantyhose bonanza. Outfits of all sorts dominate the scenes.

Perfect Secretary offers a unique challenge. The cast is a winner, but at first glance the story is confusing.

Nick Orleans seems sloppy at times, looping the action in one instance and tossing in out-of-order editing in another. Expecting more from Adam and Eve, I decided to apply my skeptic’s eye to the DVD a second time, looking for clues to explain what escaped me. In short order, everything came together to create a delightful movie.

Riley Reid is cute and precious with just the right touch of naiveté and eagerness to be a convincing new recruit.  She plays Vanessa Brooks, a grad student who wants an interview with Dylan Baukriver, the director of a sex therapy institute. The story opens with a smiling Vanessa vigorously masturbating under the covers. She’s wearing her panties and this sets the tone for the film. Crotch rubbing and fabric is an ongoing visual motif.

The BaukRiver Institute sends Vanessa a flashdrive via snail mail with what appears to be clinic advertising. She’s expecting a confirmation of her interview request. The chief administrator, Mistress Mela (Katie St. Ives) in pantyhose, heels, and bra, appears on screen to personally invite Vanessa to the facility. In shock, Vanessa then sees herself in the next segment walking the institute’s corridors accompanied by the clinic’s “fet” girls who are dressed similarly to Mistress Mela.

“What the f**k,” is Vanessa’s response as she watches herself being caressed by Mistress Mela.

Here’s where the story gets tricky. We go immediately to the clinic and follow Vanessa’s adventures, but if I’m correct, the viewer has entered one of her masturbation fantasies. The looping and the appearance and reappearance of certain shots in the movie that seem at first to be choppy editing now make sense. A fantasy does not have a tight narrative.

After awhile, I confess I wanted to see the “fet” girls lose their pantyhose altogether, especially since they were beautifully inked. Only twice did this occur and with only one girl.

Speaking of the gang, here they are: Mistress Mela, followed by Bailey Blue—whose oral work on Jessy Jones begins the film’s sexual encounters—Holly Taylor, Cameron Canada, Staci Silverstone, and Alice Frost. The long-legged Staci blossoms as the only nude girl and a stunning one I might add.

It’s Bailey’s oral that offered the clue I needed. In a bit of clever camera work, James Avalon films the action from underneath a coffee table positioned in front of the couch where Bailey’s mouth is working vigorously on Chad Alva. The table has a glass top so Bailey appears to be going down and up simultaneously because her image is reflected in the glass. She meets herself with each stroke exactly what Vanessa Brooks and Dylan Baukriver will do when they unite. They seek the missing halves of their personalities, a Jungian dream theory. In this case it is dominance versus submission and their kinks are not always what they appear to be. Vanessa, who claims to be a submissive, is dominant in her thinking and the dominant Dylan is a closet sub, as we see later in the cage scene.

There you have it, a touch of Alice in Wonderland. What seems to be reality can be reversed and done over to find its completion. Kudos to Nick Orleans for his artistry.

Quick Matrimony

The mysterious and handsome Mr. Baukriver (Michael Vegas) has some kinks and quandaries but he falls in love with his new recruit, all part of Vanessa’s fantasy. Her anticipated interview disappears from the script (logical because it’s an unlikely focus in a sexual fantasy) and is replaced by the first sex scene between Vanessa and Baukriver. The story ends with the two coupling again for a fun-filled finish. Riley Reed is pure carnality and enticing to watch.

Chanel Preston’s scene with Prince Yashua is a classic Chanel rocking romp, although a bit outré. Teasing Prince with her mocking laugh, Chanel wears unexplained wings that flap with a coquettishness that only Chanel can pull off. Perfect, of course, for a dream or fantasy sequence. The boxcover bills their scene as Chanel’s first interracial. If nothing else, it’s a piece of history for any adult film library.

The only true bondage scene features Chad Alva (as Baukriver’s younger brother) and Katie St. Ives. She dommes him with a flogger, but it’s a bit awkward. A quick check of Katie’s BDSM porn history reveals that she films as a sub and switching may not be comfortable for her. The sex that follows is solid, but not spectacular. My sense is that Katie and Chad may be “rec sex” buddies beyond the film set who were just having some fun.

The anal scene with Richie Calhoun and Dana DeArmond survives on Dana’s sexual delivery. She is a respected pro and true porn icon who one day will be in AVN’s Hall of Fame. However, the ever present “fet” girls who watch close by are distracting. Apparently the shoot was lengthy (the bonus disc mentions that) and the room was hot. Sweat matted hair. The “fet” girls, who touch themselves non-stop through their pantyhose, contribute to the scene’s sluggish pace. At times they look uncertain and languid, glancing at the director with a questioning “What do I do next?”

It’s here that I felt the editing was a problem until I reexamined the scene. Staci Silverstone removes her pantyhose, puts them back on, and appears naked again. The same with Cameron Canada’s alternating opened and closed crotch snaps, very similar to the exchange of spit and cum between Holly and Bailey that is looped in the earlier oral scene.

Now that everything makes sense in light of the story’s purpose, the shoot reinforces the feel Nick Orleans intends.

*        *        *        *        *

Vanessa and Dylan Baukriver fall in love abruptly and without any build up (this is a dream-like fantasy, remember). Wearing a spreader bar around her neck that secures her wrists, Vanessa gets clumsily attached to a gate finial. Baukriver finds her and refuses to help because they have a brief dustup over her safeword. Later she finds him hiding in a cage watching his brother’s punishment. They kiss, express their love, and matrimony quickly comes out of nowhere.

At this point, my favorite character makes a brief appearance. Danny Wylde plays the minister and prefaces the ceremony with the importance of marriage, interjecting with a suppressed chuckle that he’s an expert because he’s had four. Later, after Vanessa promises she will be Dylan’s sub for life, he vows that he will forever be her “lord and master.”

Reverend Wylde comments dryly, “Good luck with that.”

I laughed out loud.

The final sex scene showcases Riley Reid’s oral techniques with the “fet” girls once more taking it all in, rubbing away mechanically through their collective fabrics.

Perfect Secretary III is a fetish film with a BDSM touch. It’s a well conceived and enjoyable tale with industry legends James Avalon and co-producer Jane Hamilton lending their expertise to its success. Recognized as one of the better films of 2013, Perfect Secretary certainly deserves a look.

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A Different Kind of Normal: Part One

by Rich Moreland, August, 2013

Because of its complexity, The Submission of Emma Marx cannot be satisfactorily reviewed in blog format in one sitting. Consequently, it will appear in segments. This is the first.

nses_hard_front

“I don’t think controlling someone liberates them.” Bespectacled graduate student Emma Marx is sitting in the office of entrepreneur, William Frederick.

“Do you think you are liberated?” he questions with a shade of annoyance.

Emma Marx Photo courtesy of New Sensations

Emma Marx
Photo courtesy of New Sensations

“I’m very liberated,” she responds, though her expression cannot conceal doubt and a feeling she has violated a tacitly understood boundary in this conversation. Sensing the interview is winding down, Emma apologizes for her impudence. “I hope I didn’t offend you. I’m not usually one for self-restraint.”

“That’s too bad.” He is unemotional and aloof.

She rises to go, politely offering her hand as a “thank you.” Touching it, Mr. Frederick says nonchalantly, “You are absolutely breathtaking.”

*        *         *        *        *

Thus begins Emma’s journey to reconcile her attraction to a man whose allure will redefine her vision of normal with an acceptance of that normal. Along the way, she will abandon her illusions of self-control, face questions that challenge her concept of sexual deviancy, and find carnal pleasures within herself she never knew existed.

Vanilla Counterpoint

New Sensations’ The Submission of Emma Marx is written and directed from a female, dare I say feminist, point of view. A woman’s desires and search for happiness are its focus and the star, Penny Pax, offers up a performance that is superlative. The director’s chair is dually occupied by the film’s author, Jacky St. James, and Eddie Powell. Together the imagery they create is memorable, deeply symbolic, and the best example of submission pornography out there today.

The movie opens with a sex scene that is standard Porn Valley vanilla featuring Emma’s sister, Nadia (played beautifully by Riley Reid) and her fiancé, Ray (Van Wylde). Nadia is petulant, self-centered, and bossy. Her personality and her sexuality are counterpoints to Emma.

Riley and Van sparkle in their sexual show. Using fluid camera work, St. James and Powell establish the film’s ground rules with these opening shots. The larger realities of Nadia and Ray are presented with cinematic gusto. The sex, playfully shot among rose pedals, features both bodies equally displayed in their erotic presence. In other words, the penetration shots are only part of the sex, not the sex itself, a theme that carries the film.

Nadia and Ray Photo Courtesy of New Sensations

Nadia and Ray
Photo Courtesy of New Sensations

By the way, Emma Marks is not gonzo decorated with heavy doses of gynecological close-ups. In this scene, the focus is on Nadia’s pleasure, her engagement ring is visible as most of the action is shot from her left, and there’s lots of oral to satisfy her. Incidentally, the directors’ collective vision is summarized in a brief moment. Nadia is in reverse cowgirl with the camera shooting from in front of the bed’s footboard. Her enjoyment is emphasized strictly with her upper body and facial expression. Penetration is obscured, as is her lover; only a woman’s pleasure is on display.

Nadia and Ray represent sexuality as it is socially prescribed, albeit tainted with the relationship drama that spices the mundane in a social media age. Later they will furtively discuss the deviancy of Emma’s apparent degeneration into BDSM play. Nadia picks up on her sister’s red butt; Ray notices rope marks on her wrists. As snoopy and self-satisfied as they are, without them Emma’s journey lacks definition.

Hopelessly Detached

Admitting in a voice over that she is “hopelessly detached” when it comes to love, Emma feels little joy for her sister’s upcoming wedding and gets on with her life working around Ray and Nadia’s constant bickering. A lifetime union may be their destination, but arguing is its counterpoint.

Emma is old school in a youthful package, solid and thoughtful with a “textbook perfect life,” she claims. When she reports to Mr. Frederick’s office for the interview, she is prepared with a small notebook, a pen, and a valise which she will hold against her chest for protection when her feelings of apprehension and uncertainty confront her.

While waiting to see Frederick (played by Richie Calhoun in his subdued style), Emma sits in front of the stairwell to his office. There are two white chairs. The one to Emma’s right is empty and dominates the shot. Emma sits pigeon-toed with the valise open in her lap. She is meek and malleable, a vision that is reinforced when Frederick’s secretary steps into the scene from stage left. She is near the camera and her legs and skirt dwarf Emma, who looks at her with the trepidation of a school girl outside the principal’s office.

The empty chair is symbolic. Emma’s existence craves emotional connections. William Frederick, whose adoration for Emma will pull her out of her self-confined world, requires patience. As is later replayed in the hallway of his home, Emma will have to wait for his arrival . . . and his affection . . . to become worthy in her own eyes of happiness for Emma is dominated by self-loathing. “I ran from myself and the fears and judgments that plagued me all of my adult life,” she will say later when she no longer needs outside validation to find her dreams. The vacant chair is awaiting Emma’s rebirth.

This reviewer offers special kudos to Penny Pax who, of course, is Emma. She narrates the story in the voice over that walks the viewer through Emma’s maturation. Penny’s dialogue delivery is superb and her facial expressions reveal Emma’s inner self with clarity. Not to be ignored are Penny’s sexual skills, after all this is a porn film. The story drives the sex which in turn completes the narrative and develops the characters. When the sex occurs, it is hard-hitting and locks the viewer in on the action. Penny Pax gives an unbelievable and emotional performance.

*        *        *        *        *

Leaving Frederick’s office, Emma is joyous, relishing his “breathtaking” comment and realizing she has an undeniable attraction to him. She plays out her fantasies in the privacy of masturbation, her self-limiting sexual performances. In two beautifully shot scenes, Emma substitutes real intimacy for the counterpoint of self-pleasure, something Frederick intuitively understands, as we shall see.

In the first masturbation scene, Emma lies on her belly fingering herself, but it is suggested, not overt. The second swirls around a phone call from Frederick. During the conversation, an aroused Emma feebly attempts to hold her ground in their verbal sparring. She pleasures herself again, genitalia under the covers, with the camera flashing back to the call while her face is etched in ecstasy. The key image in both shoots is her glasses. She has set them aside on the bed cover, proof that Frederick who “leaves your head spinning,” she acknowledges, has indeed stripped her of her defenses and started her on an odyssey to find the real Emma Marx.

Coming next is Emma’s first experience with new kind of love, a binding obligation . . .

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