Tag Archives: Zorah White

Follow Me

by Rich Moreland, February, 2013

This episode introduces Rocco Siffredi as Vlad. Siffredi is a long-time associate of John Stagliano and directs for Evil Angel.

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Back in Los Angeles Manuel Batiste is probing further into the vampire mystery. Father Zoltan responds to Manuel’s inquiry by offering to video conference giving Manuel a chance to raise questions about the vampire killing and meeting Adriana and Amira. During their talk, the priest adroitly deflects Manuel’s concerns while pursuing an issue of his own.

Speaking of Adriana and Amira, Zoltan asks, “They are friends of yours?”

Manuel says “no,” but he wants to locate Amira.

The priest turns icy. “You have seen a lot, Mr. Batiste, and we’ll get back to you.”

With that, the call terminates and begins Episode Four, “You Can Never Leave the Clan.”

Nobody Can Leave Again

The hookers have returned to the park, they are blood slaves, not yet full-fledged vampires. Their task, one of the slaves announces, is to “feed the vampires.”

Luring Blood to Feed the Vampires

Luring Blood for the Vampires

They have no luck until a motorcycle pulls up.

“He’s the one who can help us,” the taller slave announces. She is played by Russian beauty Ivana Sugar, who sports a resemblance to Paris Hilton in face and figure.

“Really?” the second slave (Zorah White) responses.

With an assured presence, Ivana’s slave says, “Follow me.”

They arrive at a wooden dock that appears to access to an inlet or lake. Once again the water motif runs through the narrative. Here the water is more expansive than the hillside pool in LA and unlike the Pacific, very calm, perhaps indicative the clan’s self-satisfied control of its adopted environment.

The Blood Slaves Meet Vlad

The Blood Slaves Meet Vlad

“I think maybe he’s over there,” Zorah’s slave says.

They walk on until startled by Dracu who appears from nowhere the moment the motorcycle pulls up. The rider is Vlad whose status in the clan is not clear at this point, though it is apparently superior to Dracu’s.

“I’ve killed the mother fucker,” Vlad tells Dracu. Is this the dead vampire Manuel discovered?

“Good job,” Dracu replies.

Dracu Prepares his Special Fingernails

Dracu Prepares his Special Fingernails

“Nobody can leave again, nobody,” Vlad asserts. Is Amira doomed to never be free if this is what she wants? Or, does Vlad’s self-assurance forebode a conspiracy that will challenge his power?

Attention is drawn to the blood slaves. Vlad reminds Dracu to tell them once they are vampires, they can never leave. Vlad approaches Ivana’s slave and asks if she knows she is not a vampire yet. “Yes,” she replies.Episode4_031

And with that, the sexual encounter of this episode begins. Dracu backs out of the scene at the beginning in deference to Vlad, much the way a medieval inferior would cede an offering to his overlord before partaking himself. The girls are Vlad’s toys at this point. He starts by pinning Ivana’s hands behind her back in bondage fashion and grips her face to let her know the sex to come will be rough. She arches her back and drops her head like the girl with the satyr in episode one.

The sex begins in slow-motion with a guttural over voice that is reminiscent of a growling vampire wolf. Vald’s motorcycle sits in the background and like the painting in episode one, lords over the dock and its entertainment.

This part of the shoot is beautifully done. Eventually Dracu joins in. Saliva and spit is minimized. The oral skills of Ivana Sugar steal the scene. Her performance is a reminder that no female performer in this film ever gives the impression she is in it for a paycheck. The enthusiasm and hard work of all the female performers in Voracious is remarkable considering the length of time invested in the episodes. The girls in this scene appear to thoroughly enjoy themselves.

In particular is Ivana. Once she is caught momentarily glancing toward the camera, apparently at someone in the crew. It is slight but delightful because she smiles, hardly in character for a vampire- to-be who is engaging in heavy sex. Watching Ivana reminds me of a characterization I once heard of an Evil Angel icon and porn legend, Bobbi Starr. “She good at it and she knows she good at it” was the description. The same can be said of Ivana Sugar and the upbeat attitude she brings to the shoot. Not to minimize the talents of Zorah White who can rival anyone in porn, but this scene is Ivana’s.

Finally, Vlad takes the two blood slaves into a sauna on the dock. Their throats are ravaged, a bit of blood flows, and the deal is sealed.  The viewer cannot resist admiring the work of both girls when the action moves indoors. Ivana responds to Rocco Siffredi’s guidance through the scene with tenderness and a smile. She playfully kisses his abdomen in a moment that seems oddly placed in a vampire film, but speaks volumes about an Evil Angel production and the pleasure many performers get from working with Rocco.

Vlad secures his new vampires, but he has a task before him. What to do with Amira?

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Don’t Bite Without Permission

By Rich Moreland

Much of  Evil Angel’s Voracious is an in-house project. The male leads in order of appearance are Manuel Ferrara, Steve Holmes, Omar Galanti, and Rocco Siffredi. Each actor also directs for the studio.

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“But you are not alive,” Adriana reminds Amira.

Surrounded by a watery motif—the pool outside the house and the Pacific Ocean in the distance—Adriana and Amira talk. Water is the source of life and rebirth, something worth remembering as this saga continues.

Dusk is setting in.

Amira has violated the code, it seems, because the clan must approve any human she wants to bite. Adriana suspects Amira has doubts about the demonic promise of eternal youth.

“You like him because he is human,” Adriana says with a hint of understanding before hurling an admonishment at Amira.

“You need to learn to control yourself.”

Even vampires, like the monks of the Middle Ages, must exist by regulation and self-restraint.

“We leave tomorrow.” Adriana’s tone demonstrates waning patience with Amira’s transgression. Their impending return to the Old World where vampires are legend will present challenges unforeseen by either woman.

The Hunt

Episode2_003This episode, “Now You Are a Blood Slave,” is about the hunt. In black and white grainy footage, Adriana and Amira emerge from the river that runs through the city of Budapest.

The story quickly shifts to a park in this heart of mythical Vampireland. Hookers apparently frequent this scenic little spot and one girl cautiously reminds a passing pair of nubile blondes that it is not a safe place.

Vampires Prey and Play in the Park

Vampires Prey and Play in the Park

The power imbalance between the undead and the living is revealed in speed and metal during this episode. Adriana and Amira arrive in a car and proceed to stalk unaware victims who will supply blood to hungry vampires. Immediately, Dracu, played by Italian star Omar Galanti, appears on a motorcycle with a female passenger who has a nasty bite of her own. They are part of the clan and it’s time to recruit new members, fresh blood, if you will.

Father Zoltan, a role suited to Transylvanian native and porn veteran Steve Holmes, waits within the darkness. He appears to be a savior with his oddly colored red crucifix. But there are doubts as one of the hookers who would not heed the advice offered earlier comes into his presence. Father Zoltan uses his cross to ward off the girl’s pursuer, the female vampire brought by Dracu. To show her appreciation, the hooker, portrayed by European sensation Zorah White, orally satisfies Zoltan before realizing she is the victim of a hoax. Episode2_009In a comment on religion and sexual repression, Stagliano’s camera captures the small silver crucifix that dangles from the priest’s neck as it floats above his erection and the girl’s mouth.

European pornography, especially in early French stag films, occasionally takes a shot at religion. American prudery generally finds such behavior offensive but when in Rome, as they say, . . . permission is given to be a Roman.

Dracu’s passenger, the Vampire Mistress (the lovely Sandra Romain), corners the poor girl and gets the sustenance she needs with a well-placed bite.


Among the Motorcycles                                 

Dracu and Adriana have a fresh human captive to initiate into the clan, the willowy Hungarian Bibi Noel .

The Lovely Bibi

The Lovely Bibi

But before ritual begins, Adriana slips the word to Dracu that Amira is not what she should be.

“She tried to bite without permission,” Adriana whispers to him, “I think she has doubts about being a vampire.”

Is vampirism a choice and can a girl check out of the clan whenever she wants?

For the second time, a disciplined Amira is cut out of the opportunity to bring in a blood slave. Dracu exiles her to the house and she watches briefly from afar. Director John Stagliano now sets the tone for the rest of the series. Everything is not all dripping red roses in Vampireland.

The sex in this episode is truly fetish oriented with toe and feet sucking, face slapping and lots of anal and sloppy oral. The action between Adriana and Dracu is intense. Pay particular attention to the blood slave transformation of Bibi Noel. She may start off slow, but the pace is perfect at the end right before the feast.

Ah, the feast.  The viewer should know that it’s truly a heartfelt tribute to the great work of Bela Lagosi and Christopher Lee who, had they performed in a different age, would have delighted in this scene.

Adriana and Dracu feast on Bibi

Adriana and Dracu feast on Bibi

Incidentally, the prolific exchange of saliva in these episodes is a reminder that existence, even a vampire’s, is water oriented, though perhaps among the undead it coagulates a touch more.

The predominant image that prepares the meaning of the sex is Dracu’s motorcycle leap arcing across the screen at sunset. The suggestion is a passage between two worlds, the living and the undead. In fact, a similar bridge is formed during the extended physical encounter that is part of the blood slave ritual. It takes place among scores of motorcycles. Adriana, back arched beautifully—a reminder of the satyr statue in the first episode—positions herself so she can fellate Dracu from underneath. Once again she is seeing a reverse world in which the undead are the living. During the action she is orally serviced by Bibi’s blood slave. The shot forms a stairway effect, rising from left to right, that leads the blood slave to her Master, Dracu.

Adriana’s acrobatics introduce another, more sinister, image. Didn’t they break witches on the wheel in 17th century Europe? Adriana hints later that she has been around for five hundred years. Perhaps her position is a tortured part of her past.

As the episode closes questions arise. How strong are the bonds in the clan? Did the chastised Amira go through a similar initiation?  If so, why does she seem so independent minded? Will a power struggle later emerge? And, most important, who’s running this show?

Maybe a few hints will come around in Episode Three.

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