Ma fille est une putain

Time once again to criticize Marc Dorcel and his wicked ways in post-production. Filmmakers, especially the British ones he has recently put on the payroll, hand in perfectly acceptable feature films, and then out of either expediency or just crotchety orneriness, Dorcel and his q.c. team sap them of life by laying on stupid narration in half a dozen languages (Menu to take your audio pick), removing the original soundtracks or suppressing them to inaudibility levels. It's infuriating.

So Liselle Bailey, Brit Porn helmer who also made a companion film "Ma femme est une putain", delivered this opus about a promiscuous teen, only to have the actors' dialog dumped. Instead we hear insipid narration, written for a five-year-old to understand what's going on in the story, rather than letting us poor slobs out there in videoland follow for ourselves.

It's hard to ignore this glaring defect, which results in arbitrary changes of the dumbest sort. In the 'Making of" short subject director Liselle talks of the character played by the wonderful, bosomy British actress Emma Leigh as "Cara", but the voice-over consistently refers to her as Victoria. Narration makes her a step-mother to heroine Lea Guerlin, but Emma in her interview, and she ought to know, says she's playing the girlfriend of Lea's dad. I guess Dorcel doesn't care as long as the sex footage is in focus, and the fans get to hear one of his thousand or so self-composed musical scores clearly and distinctly.

Bailey's scenario has plenty of weak points, relying on the same gimmick twice - namely misbehaving characters caught in the act of having sex -how embarrassing. These pivotal moments happen when dad (played by Rico Simmons) catches his wife in flagrante delicto and many reels later, like mother, like daughter.

Mom is the delicious Chloe Lacourt, delivering the first d.p. scene Liselle ever directed, Bailey informs us, and it is poorly directed, with her movie mentor Dick Bush handling the camera but not so we can see what's going on when the sandwich of bodies occurs. It reminded me of those implied d.p.'s circa 1970, before soft-core had morphed into hardcore, when the proximity of bodies was all you needed to know (for anal-sex or a d.p.), explicitness being still verboten.

Like Guerlin, Chloe is a Dorcel discovery, but the casting is dubious, as Chloe in real-life was 20 when this was shot and Lea her blood-related daughter 18. Significantly, Chloe looks older on screen but only because Guerlin is a perennial jail-bait type by comparison.

I had considerable trouble getting into the film, largely because the narration purporting to express Lea's feelings, keeps emphasizing over and over again how proud she is of being a slut who can't keep her knickers on. Clearly both auteur and actress had more subtle and interesting intentions, but we'll never know.

Besides these beautiful women, there is also the striking redhead Ella Hughes, shoe-horned into the script for a lesbian scene with Lea. Ella is poised on the verge of going Mainstream, having already appeared in a bit part in an episode of "Game of Thrones" (the real one) no less.

I'm looking forward to Bailey's next film, completed for Dorcel, starring the incomparable Sensual Jane as a MILF. She's the Eastern European hottie who needs no dialog to be understood.