Archives for posts with tag: dominatrix
American Johns

Natalia-Christabelle Serrano in American Johns (2015)

This 12-minute short from writer-director C.L. Hoffa depicts a few episodes in the life of Melissa Masters (Natalia-Christabelle Serrano), a former child actress who now works as a call girl. Unfortunately, the story is told entirely in images and a couple of captions to identify the principal characters, with the viewer left to connect the dots of whatever semblance of nonlinear narrative is to be had. Melissa specializes in boring kink, alternately crawling around on the floor like Ai in Tokyo Decadence (1992) – though the director cites The Canyons (2013) as an influence – or playing the dominatrix and stepping on masochists. Unfortunately for her, this results in one of her johns lying face-down dead on the floor of a hotel room, which brings the creepy and haggard Detective Steve Scott (Christopher Loring) into her life.

Lyle

When Lyle Lovett attacks! (Rey Marz and Natalia-Christabelle Serrano in American Johns)

A man who appears to be a slumming Lyle Lovett (Rey Marz) is shown being confrontational and then more adoring of her, but the exact nature of the transaction remains unclear. Hoffa advertises American Johns as “experimental“, so one assumes that any ambiguity is intentional. Minimalist electronic music abstractly suggests moods for the episodes, but one is sometimes unsure how to feel. Not much interest, for instance, attaches itself to scenes of Melissa walking around and chatting on her cell phone outside Bob’s Big Boy – particularly when the viewer has no idea what she is talking about. Maybe the idea is that men see her as fast food?

2.5 out of 5 stars. Ideological Content Analysis indicates that American Johns is:

3. Pro-gay and pro-miscegenation. Melissa appears to enjoy a non-platonic relationship with a tattooed black woman.

2. Misandrist. Men, in their relationship with women, are either customers or inquisitors. Melissa’s past as an actress finds a continuity in her work as a prostitute, in that men expect her to play a role – they do not accept the real Melissa, in other words. The tramp, in the course of her duties, discovers that even the most seemingly masculine man is only a writhing maggot at heart – they, too, are actors.

1. Feminist (i.e., anti-human). American Johns, unlike The Canyons, appears to aim not for an implied moral judgment in its portrait of soulless squalor, but to aspire to some sort of seedy chic, a de facto glorification of the protagonist’s AIDS-tempting lifestyle. Mise-en-scene of the character’s introduction to the audience – framing her through and against the vertical lines of blinds and railings that convey the impression of bars of a cage – suggests that Melissa is a prisoner; but the heroine’s final moment onscreen indicates that she is in control – she is the zookeeper minding the cage – and firmly in command of the men in her life. Her nihilism and capitalist degeneracy, it seems, are some form of women’s empowerment – a realization of some mutation of the American Dream.

Rainer Chlodwig von Kook

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Body Chemistry 2

Lisa Pescia in Body Chemistry 2 (1992)

This reviewer retains a fondness for the lurid erotic thrillers that used to play late at night on Showtime during the late 80s and early 90s. Many of these – the likes of Out of the Dark (1988) and Body Chemistry (1990) – were stylish mysteries and wicked psychological dramas in addition to serving as eye-pleasing programming.

Of these, the one that left the deepest impression on his grade school brain was Body Chemistry 2: Voice of a Stranger (1992), in which the amazing Lisa Pescia reprises her role as the sadistic Dr. Claire Archer. It cuts a gash in pre-pubescence to know that something as grimy as sadomasochism exists – mere nudity was sufficiently forbidden to be exciting in those days – and, furthermore, to know that such sordid entertainment is interesting to a parent too lazy to shoo a youngster from the room while, for instance, a dominatrix humiliates Morton Downey, Jr.

Later generations, alas, would plunge directly into the porn cesspit, ignorant of the mystique that used to await the youthful discoverer of a Bedroom Eyes (1984), Red Shoe Diaries (1992), or some such other softcore classic. In “Generation Masturbation”, Matt Forney relates how early experiences of pornography and dirty movies can shape people’s sexual expectations and muses, additionally, on the disillusioning nature of actual carnal knowledge.

Kubrick seems to have been the one to initiate the young Forney:

We were staying with my grandparents for Christmas, and they had acquired pay-per-view channels through less-than-legal means. My grandpa had three TVs with free HBO, Showtime, Cinemax and all the rest: one in the living room, one in their bedroom, and one in the basement lounge room where I slept. It was two in the morning and I was flipping channels when I came across HBO airing Eyes Wide Shut.

Specifically, the orgy scene.

Read the rest here.

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