Matinee Idol

Matinee Idol, directed by Henri Pachard, is a fun yet flawed entry in the golden age of porn. This 1984 adult film delivers on eroticism and entertainment value, but is held back by a lackluster narrative and uneven pacing. However, with a behind-the-scenes look at the adult film industry, it offers an interesting glimpse into the intersection of Hollywood and porn.

The film stars Lance Hardy (John Leslie) and Linda Hand (Jesie St. James), a feuding onscreen couple, whose sleazy producers (David F. Friedman and Elmer Fox) must find replacements while they battle it out. The real-life producer, David F. Friedman, is famous for his journey from "nudie cuties" to hardcore porn, and this film is a testament to that evolution.

The highlight of Matinee Idol is undoubtedly the performances of Angel and Colleen Brennan, who steal the show with their sizzling chemistry. A standout scene features Colleen Brennan and Jesie St. James, as they double team Herschel Savage, in a display of raw, uninhibited passion that will leave you breathless. The scene is an erotic whirlwind, with the two actresses orchestrating a symphony of pleasure, their bodies moving in perfect harmony to bring Savage to his knees, quite literally.

While the film has its moments, the story is simple and stretched thin to fit a feature-length runtime. Filler sex scenes and pointless dialogue pad out the runtime, and the characters feel flat and one-dimensional. The film could have benefited from tighter editing to create a more cohesive and engaging narrative.

In conclusion, Matinee Idol is a mixed bag. It has its moments of erotic brilliance and offers a fascinating look behind the scenes of the adult film industry. However, it falls short in terms of storytelling and character development,. This film is a fun, sexy ride, but don't expect a masterpiece.

So, if you're in the mood for a trip back to the golden age of porn, Matinee Idol might just hit the spot, but don't expect a deep and satisfying narrative to go with your erotic escapades.

Matinee Idol, a 1984 adult film directed by Henri Pachard, is a notable entry in the golden age of porn, but it doesn't quite reach the heights of its contemporaries. The film delivers on its promises of eroticism and entertainment, but it's held back by a lackluster narrative and uneven pacing.

The highlight of the film, without a doubt, is the performances of Angel and Colleen Brennan. Both actresses bring a level of charisma and enthusiasm to their roles that is infectious. The scene involving Angel's character is particularly noteworthy for its intimacy and intensity, while Brennan's performance is a masterclass in the art of adult filmmaking.

Pachard's direction is competent, but it lacks the visual flair and inventiveness of other directors from the era. The film's pacing is also an issue, with some scenes dragging on for too long and others feeling rushed and underdeveloped.

In terms of its historical significance, Matinee Idol is an interesting artifact of a bygone era. The film's exploration of the intersection between mainstream Hollywood and the adult film industry is a fascinating one, and it's clear that Pachard and his cast and crew were passionate about their work.

In conclusion, Matinee Idol is a solid, if unspectacular, entry in the annals of adult cinema. While it's unlikely to convert any skeptics, fans of the genre will find plenty to enjoy, thanks in large part to the unforgettable performances of Angel and Colleen Brennan.

Matinee Idol (1984)

*** (out of 4)

Fun adult movie has superstars Lance Hardy (John Leslie) and Linda Hand (Jesie St. James) fighting while making their latest movie so their sleazy producers (David F. Friedman, Elmer Fox) must try and find their replacements.

MATINEE IDOL is a pretty darn good film that works on a number of levels but the key to its success is without question its behind-the-scenes look at the making of a porn movie. If you're familiar with producer David F. Friedman then you know he started in the nudie cutie business before making some gore films with Herschell Gordon Lewis and then he moved onto roughies and more sexploitation pictures. He eventually made his way into hardcore movies and this here is certainly among the best of his career.

What makes this film so special is that it really gives you a nice behind-the-scenes look at what it must have been like on a porn set. In particular, it gives you a chance to see Friedman playing a character like himself and there's no question that it was a lot of fun seeing him and Fox play off one another as they try to save their movie. I also thought Leslie and St. James were extremely good together and especially during the final sequence. Angel plays the newbie who is discovered and she too gets to shine in several scenes. Kay Parker and Herschel Savage are also on hand.

The sex scenes are all done in an exceptionally good way and I would argue that they were all very entertaining and at times erotic. There are also some funny fits thrown in and all in all this is a very memorable porn film.

With a decades-long career in softcore behind him, producer Dave Friedman had more than enough time to hone an art for making silk purses out of sows' ears. He pulls that off again in MATINEE IDOL, a later-day Henri Pachard XXXer that's short on plot but surprisingly long on entertainment.

The story finds feuding porno thesps John Leslie and Jesie St. James getting into a fight on set that threatens to derail their latest production. With the two retreating to their separate residences, it's up to producers Harvey Cox and Bernard Kuntz (Elmo Lavino and Friedman, respectively) to find a couple newcomers to fill their shoes. Following a long series of auditions, the pair finally pulls in Daisy Cheney (Angel) to substitute for St. James, while the actress herself seizes on studly pool cleaner Herschel Savage to fill Leslie's... er, shoes. With St. James and Leslie forced to work together one last time before their replacements ascend to the limelight, is there any chance sparks might reignite, or is it curtains for porno's marquee duo?

Having watched MATINEE IDOL several years earlier on what was, at the time, a fairly rare uncut beta, I was impressed by its easy flow, brisk pacing, and pleasantly puerile comedy. Catching up with it again via Vinegar Syndrome's recent reissue, I was delighted to find it held up. Friedman and Pachard manage to wring an impressive amount of mileage out of their paper-thin premise, with the film moving surprisingly swiftly considering how little plot there is. Leslie and St. James basically just sulk the whole time and drown their sorrows in sex before patching things up at the conclusion, which resolves itself as quickly and arbitrarily as their initial falling out. It's a testament to the cast and writing that the material flies as well as it does, with numerous scintillating sexual encounters helping propel the film forward and making it seem breezier than many other features a good reel shorter.

Production values appear satisfyingly high, and are, again, a result of Friedman's well-honed knack for making the most out of nothing. It's not that IDOL is bursting with locations and cast, but that nothing feels threadbare - the film moves between settings freely and its locations always feel sufficiently populated and decorated, not sparse. Things only fall apart at the end, where the movie shirks its in-film premiere (cobbled together out of stock shots of LA's Pussycat Theater) for a scene featuring Leslie and St. James coming to terms in private. Clearly conceived as the emotional centerpiece of the movie, this sequence (a large excerpt of which forms its teaser-length trailer) features the couple masturbating across from each other on opposite couches, with their growing mutual lust conveyed in a series of longing looks that alternate between desire and constipation. It's only semi-successful, but the film at least earns points for trying, and the sequence remains a memorable moment, even if its thunder is stolen by a mid-film sequence featuring Colleen Brennan making love to Herschel Savage's foot. Toss in plenty of Friedman's trademark bawdy wordplay and you have a fun and frothy concoction that doesn't chart any new ground but delivers a solid and surprisingly brisk 90 minutes of adult entertainment. By 1984, that itself was a minor miracle in itself for a porn film, but old pros Friedman and Pachard make it look easy.