Tag Archives: Voracious

AEE 2019: The Evil Angel Legacy

by Rich Moreland, February 2019

This post is the first in a series installments on the 2019 Adult Video News (AVN) trade show. The Adult Entertainment Expo (AEE), as it is also known, was first held in Las Vegas in 1998 and has continued annually since.

Photos in this post are courtesy of Evil Angel and 3hattergrindhouse.

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During my first day at the AVN trade show, I had a passing conversation with writer Tod Hunter, whose work I regard highly. He mentioned that I should check out the Evil Angel booth where a large billboard-like poster was on display in celebration of the company’s thirtieth anniversary. Tod added that I’d find it worth a look, especially the upper left side of the picture.

How right he was. But more on that corner in a moment.

Hal Freeman and John Stagliano

When I got over to EA, I spent a few minutes with John Stagliano. Saying “hello” to Evil Angel’s founder is always a pleasure. John is a force in the industry, a trend-setter who shoots what he likes and creates a market for it.

But that’s only the half of it. John is also a “freedom fighter” in the manner of Hal Freeman decades ago. Both men battled in court to preserve their right to express their art as they saw it.

Freeman’s case (1988-89) effectively legalized filmed pornography in California. Years later, John’s dust-up added to that history because it involved not actors having sex for money, but the content of the film. Ostensibly fought over obscenity charges, his case evolved into a higher cause centering on free speech and how it applies to the internet. Eventually, all charges were dropped and the modern porn industry took another step into the light of mainstream culture.

Everyone involved in the adult biz today owes a debt to Hal Freeman and John Stagliano. What we see around us in this industry was not always as it seems now. To put it another way, all of us must remain vigilant because ongoing and enduring rights of expression are precious.

Widely Regarded

Having covered that little bit of history, now back to the poster of the EA dignitaries. Though they are directors mostly, a particular individual stands out.

Christian Mann.

In writing for XBIZ in 2014, AVN Managing Editor Dan Miller pointed out that Christian Mann was “a 34-year veteran of the adult business” and “widely regarded among the most prolific and passionate executives in industry history.”

AVN notes that Christian was “the recipient of AVN’s First Amendment Defense Award in 1991,” a proud industry honor.

What’s more, Christian was no stranger to porn’s courtroom battles. “He was indicted in 1989,” AVN continues, and “withstood a federal obscenity trial in Texas and was eventually acquitted of all charges.”

Sounds a little political, right? And it should because it was.

Talking with Christian, AEE 2013

For six years, Christian Mann was Evil Angel’s managing editor and I’m fortunate to have known him. On one of my visits to the West Coast, I remember sitting in his office talking about the state of the business as he saw it. That day Christian reminded me that John Stagliano establishes market directions in porn. He shoots what is personally pleasing to his tastes, as I’ve mentioned above, and unabashedly puts it out there for all to see.

It’s worth noting that in 2012 Christian passed along to me a copy of EA’s Voracious which is one of the finest adult movies ever produced and shot on two continents. (My ten-part review of the film begins with a nod to Christian and John. The post can be found here.)

Serving honorably on the Board of the Free Speech Coalition, Christian’s sense of fairness and honesty distinguished him. His brilliance was widely recognized in the industry.

A Fight of Another Sort

The last time I saw Christian Mann was at the AVN show in 2013. He walked with a cane and was in obvious discomfort, a red flag, I thought, considering my memory of his robust energy.

When I visited the EA suite at the Hard Rock Hotel, Christian was upbeat as usual, but related that he was seeing the doctor when he returned to LA.

Christian passed away the following year after a heroic battle with cancer. He was fifty-three.

So, returning to my opening remarks, I offer thanks to Tod Hunter because he indicated that I’d have an emotional moment when I spent a few minutes with the poster. I did.

You see, Christian is with us in the upper left, a little dim because he is watching from afar. By the way, he is not the only EA personage celebrated in the display who is gone. Jake Malone, David Aaron Clark, John Leslie, and Bruce Seven have also departed.

But it is Christian Mann I remember so well and Tod, I suspect, knew that.

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The Dark Lord of Pinup

by Rich Moreland, January 2014

                                                                                                                                                  The is the second post about the Vegas Convention. To read about this year’s “Legends of Erotica” which featured the induction of Evil Angel’s Christian         Mann into that hall of fame, go to AINews.com and check out my column on the event.

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The days of pornographers hustling video tape and print material as their sole income source are way behind us. Today’s adult purveyors are expanding into other revenue builders. Evil Angel’s John Stagliano, arguably the most innovative man in the adult business, introduced me to his new line of clothing at this year’s AEE.

Called “Evil Apparel by Armando Huerta,” the clothing features erotic art printed on casual wear (t-shirts, leggings) using a process called sublimation which “keeps all the details of the art,” fashion designer Lea Lexis says. “It will never fade or crack, like other prints.”

Lea and Evil Apparel Photo by Bill Knight

Lea and Evil Apparel
Photo by Bill Knight

The former Romanian gymnast insists that “clothing itself is art, now we’re putting art on clothing.” Though the Evil Angel brand is everyday attire, the customer is wearing something “unique and interesting,” she says.

A partnership between Lea Lexis and John Stagliano led to a start-up company to produce artistic clothing. Previously she had done a bit of design work for the porn mogul. This project is much more substantial. “He pushes me to be more creative, I admire him so much,” Lexis says. She regards Stagliano as a true inspiration, a legend who “manages to upstage everybody.”

For readers who are unfamiliar with the world of filmed pornography, Lea Lexis uses her gymnastics background to twist and frame her body for the camera. She is a adult actress whose work in Evil Angel’s “Voracious” series is widely recognized.

Artist Armando Huerta carries the descriptor, “The Dark Lord of Pinup,” having worked over twenty years producing exclusive art for collectors. Huerta’s creations are quite familiar to John Stagliano. They have appeared in Evil Angel’s publication “Buttman Magazine” for about fifteen years.

Armando shows off his work Photo by Bill Knight Photo by Bill Knight

Armando shows off his work
Photo by Bill Knight

Though he began with pinups, Huerta has evolved into an erotic artist with some of his work being explicit. “Total nudity, spreads, butt holes, penetration,” is how he describes that aspect of his work.

Armando Huerta moved to America from his native Mexico after putting together collections of his work and marketing them in the States. His talent ultimately developed into a career and his first US show was at the AVN convention eleven years ago. Despite success, Huerta had professional decisions to make. This is America after all, arguably one of the most religiously prudish countries on the planet.

“My first paintings were pretty explicit and that helped me a lot because people were amazed that an artist had the guts to produce that kind of material,” Huerta says. Of course, some opinions urged him to become more conservative and stick with the Bettie Page type of art. Moving in that direction prompted client reactions that surprised him, Huerta remembers. “What are you doing? We don’t want this,” became a collective response. So, he decided to travel the middle road, “some explicit, some conservative.”

Bobbi Starr, former Evil Angel director, once said to me that no mother wants her daughter taking off her clothes for a pornographer. But what about an artist whose work contains a pornographic flavor, what are mom’s thoughts? Armando Huerta explains his fortunate situation.

“I come from Mexico and we don’t really care about anything,” Huerta says, referring to his erotic art creations. “In my culture if my mother is proud of me, I really don’t care about anything [else],” he adds with a smile.

He mentions America’s entrenched religious attitudes that tend to drive our culture. But in his case, Armando Huerta never had any “frustrations” about the art he produces.

A true visionary, Huerta explains he is not into his creations to make money, but does not deny money will come his way if his art is appreciated.

“The money is a consequence of what you do,” he says.

The Latino artist has five color books, large format, sixty to sixty-five pages, and three sketches books for purchase. Visit armandohuerta.com for details.

I turn to Lea Lexis for some final words about the official launch of Evil Apparel by Armando Huerta. The clothing has generated interest at the adult convention and is scheduled for the fashion portion of The Magic Show, an upcoming mainstream convention in Las Vegas, she says. The testing stage will be history and the marketing campaign will be underway.

Expression tells the story of a rising business success Photo by Bill Knight

Expression tells the story of a rising business success
Photo by Bill Knight

The clothing can be purchased online at EvilApparel.com. Eventually the products will be available in retail sex stores. “Our styles are unique,” Lexis says with a smile.

We discuss for a moment the meaning of “high end” when it comes to the apparel market and my photographer Bill offers that the Evil Angel clothing targets a special market, “wearable art aficionados.” That is hardly the first time “aficionado” has been used to describe an Evil Angel customer, I imagine.

Chatting with John, clothing on display in the background. Photo by Bill Knight

Chatting with John, clothing on display in the background.
Photo by Bill Knight

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Borrowing a Little from Bach

by Rich Moreland, February 2013

A final word about the making of this film: the movie is a collaborative project, as I have mentioned previously. Performers Lea Lexis and Brooklyn Lee contributed to the script with Lexis doing the make-up and acting as co-producer for the scenes shot in Budapest. Here is a look at the last episode, “Es ist Vollbracht!”

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The alliance of Father Zoltan and Adriana is in place in the final episode. Their first task is to dispense with the Amira issue. In a scene that is reminiscent of the final chapter in Pauline Reage’s the Story of O, Amira enters a room wearing a mask, the kind found at costume balls. Zoltan is in the background chanting in German.

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“Es ist vollbracht” is heard. The phrase comes from Bach’s St. John Passion and references Christ’s final dying words on the cross. “It is accomplished, what comfort for all suffering souls.” Will Amira return to the living and finally see the sun?

IMG_9563Ritual highlights the scene. Before the ceremony begins, a male blood slave is presented for Adriana’s inspection. Zoltan’s chanting continues as Adriana removes Amira’s mask. Her fangs come out to let the viewer know this is a vampire inspired rite. The act is an unveiling, recalling the Jewish practice of recognizing death. Amira will now grow old and die as a human when the ceremony is completed.

Adriana rips off Amira’s talisman, a circle of green stone she wears around her neck. The type of stone is not clear, but it is emerald-like which carries a water reference. The water motif appears throughout the film as would be expected. It is the symbol of life and rebirth. Shortly the holy water of the church and will play a role in this scene. Incidentally, a talisman is invested with power by its creator. To remove it ends its ability to protect the wearer.

Amira is impassive and in a trance-like state. Manuel supports her from behind as she bends over on top of a platform, her face against the cloth cover, her buttocks raised.

Waiting

Waiting

Adriana’s fangs tell us that we will see the passing of a vampire’s existence in a rite conducted by a vampire.

A satanic guttural voice over is heard. Manuel puts a glass tube shaped like a dildo into Amira’s anus through which holy water will be poured.

Preparation

Steeling the Will to Endure the Pain

With each new application of the water, Amira screams and howls in agony. Like a rite of passage, the water flows into the canal of immortality as it exists in the vampire world. Amira’s site of much sexual satisfaction is now purified of its vampire longing and lust.

Zoltan drives his red crucifix into Amira’s rectum to seal the deal. It is done. Adriana turns to the priest and gives him a kiss.

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

The Lovers

The Lovers

The sex scene in this version is much tamer than others in the film for now we see a love story. At one point Manuel takes Amir to the huge window that looks eastward, bathing her in sunlight. As a reminder that the past is just that, or so the viewer is led to believe, Amira slides down below the window sill with the back of her head against the wall. In a replay of her encounter with Zoltan in front of the Victory Column, she orally satisfies her lover.

The golden angel on the column is replaced with the rising sun.

The Princess sees the Sun

The Princess sees the Sun

The sex continues and is a reminder of the gentler kind found in couples’ porn. Amira has equality with Manuel. Her body is not used for the pleasure of vampires, but enjoys its own pleasuring. The room continually brightens as the sun streams in. All is well, right?

Not quite, because there is a shocker to come before this film is finished. How did Amira became a vampire? What of the conspiracy? Where does Vlad fit into the story’s larger reality now that Adriana has freed Amira? Will the vampires pursue the lovers in an act of revenge? You will have to see for yourself.

To borrow a little from Bach, I’ve accomplished my task. The rest is up to you.

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Before departing from this tale, a brief salutation to the women who make this adult film a real treat. Evil Angel relied on European talent for the most part and the overseas pool of performers is well stocked. By the way, I’ve heard from some girls in the biz that the glam shots are sometimes the toughest to do.

Kudos to this group.

Ivana Sugar, Lea Lexis, Sandra Romain, Brooklyn Lee, and the Buddha

Ivana Sugar, Lea Lexis, Sandra Romain, Brooklyn Lee, and the Buddha

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

Getting Ready for the Awards CeremonyPhoto courtesy of AVN

Getting Ready for the Awards Ceremony
Photo courtesy of AVN

 

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A Bell Tolls

by Rich Moreland, February 2013

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

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

Manuel Meets Adriana Again

Manuel Meets Adriana Again

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

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

Dracu Wants to Know Who Manuel Is

Dracu Wants to Know Who Manuel Is

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

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

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

The Vampires Prepare to Move Manuel

The Vampires Prepare to Move in on Manuel

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

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

A Test for Amira

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

Episode9_008

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

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

Intermingling Before an Ancient Philosophy

Intermingling

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

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

Amira Reaches Out

Amira Reaches Out

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

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

That will shape the dramatic ending to this episode.

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

Voracious reinforces that porn often crosses over into art.

The Bhudda Watches

The Buddha Watches

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

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

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

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

Manuel Is Under the Bite

Manuel Is Under the Bite

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

Bhudda Challenges the Vampire Mistress

Buddha Challenges the Vampire Mistress

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

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You’ve Been Playing with Vampires

by Rich Moreland, February 2013

This episode, “It’s a Dangerous Game,” is a dramatic encounter between Adriana and Father Zoltan. There is discontent within the vampire universe. It seems Vlad is making a female vampire’s existence miserable by killing off all of the men. Adriana, in particular, is angry.

She turns to the priest for assistance, at first schmoozing him through praise, then thanking him for protecting “this” clan, as she puts it. Apparently there are others.

Vlad’s patriarchal control of her hometown clan is supremely aggravating for Adriana and the time to act is now.

“I’ve been putting up with these motherfuckers for five hundred years,” she says with palatable annoyance. “It’s my time to take over.” She wants Zoltan involved in this planned vampireland coup.

The scene underlines director John Stagliano’s support for powerful women. Adriana will persuade Zoltan to become a part of the conspiracy she is weaving. She demonstrates her forceful nature by grabbing his throat and pulling him up out of his chair to look her in the eye. She challenges him with, “you always wanted to be a vampire.”

Not to be outdone, he responds by squeezing her breasts, tit for tat if you must.

Episode8_002

Of course, with Vald’s intentions revealed, vampirism may not be so attractive now for any man.

Adriana is the take-charge type, a noticeable contrast to the weaker Amira. Yet she achieves it in a manner that does not diminish her male counterpart. She wants to encourage Zoltan, not demean him.

She mentions that the “foolish human” and his “true love,” as Adriana describes Manuel and Amira, are unwitting players in this plan.

“With your help, no more Vlad,” she tells the priest.

“I know it’s dangerous,” he says.

Adriana counters with a devilish smile. “When have you ever been afraid of danger? You’ve been playing with vampires.”

Episode8_013

The sex in this episode is different from the others so far. There is no visual background to lend meaning or drama to its purpose. Adriana and Zoltan are in a darkened room. A limited amount of light defines their bodies specifically for the camera in a way that keeps the atmosphere menacingly spooky.

John Stagliano’s presentation of explicit sex is always embraced with sound, slurping and guttural moans predominant, especially in oral scenes. Filmed sex has not been silent since the early stag film days. When videotape broke onto the scene, the audio was little more than cheesy music and faked voiceover moans looped repeatedly as the shoot progressed. A Stagliano film is a far cry from that production paradigm. In this scene, the music highlights percussion instruments that give it a tribal or primitive flavor. At one point, the background drumming falls into the rhythm of Zoltan’s thrusting into Adriana, and from there dictates the pace of the action. There is a barbaric feel that is devilish and savage, something that would fascinate an anthropologist like Manuel Batiste.

A final note on the sex presented here. The physical pleasure between Zoltan and Adriana is equalized, unlike the priest’s earlier scene with the park hooker and later with Amira in front of the Victory Column. He was the patriarch in those encounters. Not so with Adriana because this sexual interlude reflects her status within the vampire community.

Adriana’s character recalls the ancient Hebrew Lilith, Adam’s first wife, who was abandoned because she insisted on equality. She demanded to be on top in history’s first cowgirl. Exiled, Lilith becomes vampire like, the succubus, haunting men at night and seeking the flesh of babies through the ages.

Lilith’s grip on the body of men is everlasting and she is punished, relegated to become the pornographic.

Condemnation, however, does not cause the flesh to turn from its desires.

“Do you worship the vampire body?” Adriana asks Zoltan, speaking with Lilith’s voice. “Are you ready to become a vampire?”

Episode8_026“Yes, I am,” he responds.

The Church’s mighty task to erase Lilith in favor of a much more docile view of womanhood is never ending. The proof is in the fascination with this tale of vampire sex?

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A Shortage of Playmates

By Rich Moreland, Febraury 2013

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

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

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

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

“But that’s her choice,” Manuel says.

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

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

We Want More Men

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

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

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Boredom Strikes Hungary Vampires

Boredom Strikes Hungry Vampires

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

Dracu Brings a New Girl

Dracu Brings a New Girl

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

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

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

Playtime is Over

Playtime

Certainly he does, but does he care?

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

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

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

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

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Where is the Angel?

by Rich Moreland, February 2013

This episode, “You Are Not a Man of God,” is about the column, the angel, and mankind’s confrontation with the sacred feminine, a concept that reaches far into the past before the birth of a Christian Church that silenced it.

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A shot of the golden, gleaming angel opens this brief episode. The priest is waiting on the street. Adriana approaches with a meek and passive Amira in tow.

Zoltan Waits to do His Duty

Zoltan Waits to do His Duty

“Here she is. The vampire I was telling you about,” Adriana says.

Amira eyes express her submissiveness. Zoltan takes her behind a wall that separates them from the busy street. They are across from the plaza where the Victory Column stands. It will loom over this scene.

The priest challenges Amira asking her if she thinks she has a choice to become human again. Amira is lost in what she wants and knows little of who she is.

Can You Face the Wrath of God?

Can You Face the Wrath of God?

Zoltan tells her it is possible to become human but it is not an easy task. Amira brightens, if only for a moment.

“You have to withstand God and the angels,” he says. “You think you can do that?”

Desperation overcomes Amira’s face. “I can’t live like this forever,” she says.

With anger Zoltan flashes his red crucifix in Amira’s direction. “Do you think you can stand this?” he utters. Like Vlad, Zoltan must discipline and punish Amira.

The Crucifix Inflicts its Pain

The Crucifix Inflicts its Pain

Amira turns away in agony and collapses on her knees, once more defeat growls at her.

“Open your eyes!” Zoltan orders and he thrusts his erection into her mouth, pressing her head against the wall. Amira will now service the man of the cloth.

“Please help me,” she sobs between his forceful thrusting into her mouth.

The sex in this scene is all oral, as it is in the previous episode. However, this shoot is immersed in images and messages that heighten the drama. The wall is low enough to reveal the street activity during the scene. Cars whiz by; a jogger and cyclist pass a few feet away.

Amira is below the wall’s level, not visible from the street. This is important because when Manuel arrives, he sees Zoltan, but not her.

The shot is framed so that the column is the predominant image on the left, the street with its traffic and numerous streetlights cut a swath across the entire picture. Predictably, Amira is minimized on the screen’s lower right.

She interrupts her oral work and looks at Zoltan.

“You’re not a man of God. You’re nothing but a fucking pervert!” she sobs defiantly.

At that moment the camera tilts so that Zoltan’s standing body becomes horizontal and the position of Amira’s head is equal to his, a verification of her assertion. It’s a revelation that equalizes them.

Zoltan will have none of this. He grasps her mouth and drops the crucifix that hangs around his neck into it. She screams and steam rises from her mouth, just as the medieval Europeans would have expected from a witch, the playmate of Satan.

Voracious makes a strong statement in this episode about the moral corruption within the Church, especially in the Middle Ages. Church leaders, including the Popes, often had concubines and mistresses while minimizing the role of women in society. Using women for pleasure while considering their sexuality the work of the devil is the message Father Zoltan sends the viewer.

Amira’s indictment of Zoltan’s unholiness while withstanding his abuse is a microcosm of a religiously-driven society’s attitude toward women.

 *          *          *          *          *

Manuel arrives, fulfilling his appointment to meet with Zoltan. The priest moves his body in front of Amira so she can perform orally on his anus. Tales of witches kissing the devil’s genitals and buttocks go back to twelfth century Europe and are recalled in this scene. In those times, such accusations could mean public execution.

See Your Beloved Vampire?

See Your Beloved Vampire?

Zoltan challenges Manuel to see what is happening and Adriana pops up suddenly to make sure Manuel faces the truth. Amira is reduced to a whimpering, beaten child as the scene rolls toward its end.

A confused and overcome Manuel promises her he will find a path through this demonic morass.

Passion

Passion

Everyone is gone, Amira is alone. At this moment the telling image steps onto the stage. The Victory Column’s enormity occupies the screen’s left, Amira is on the right. She is not minimized now, her adversaries are gone; she has survived.

The camera lops off the top of the column, sending a visual message that angel’s presence has shifted in the scene. Amira, which means princess in Arabic and Hebrew, suffers from her ordeal. Tears flow down her cheeks and the ejaculate of perversity smears her face, but she remains whole. Will this princess of the dark ever see daylight?

The Angel Suffers

The Angel Suffers

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