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The prostitute Liz (Theresa Russell) works on the streets of Los Angeles. She recalls her life in flashback, when she marries an alcoholic man. She leaves him with their son. Then she works as waitress in a diner until the day a man introduces her to prostitution. Later she is raped by at least five men and the pimp Blake (Benjamin Mouton) "protects" her. Liz tries to escape from Blake and befriends the prostitute Katie (Elizabeth Morehead); however Blake chases her. On the streets, she befriends the homeless Rasta (Antonio Fargas) that helps her when she needs.

"Whore" is a docudrama by Ken Russell that shows the tough life of a whore. The hot Theresa Russell is a perfect choice for the role of Liz, talking to the camera to explain her life and feelings and analyzing the type of men that is client of a whore. I saw this movie for the first time in the 90's and in 2015 it has not aged. My vote is seven.

Title (Brazil): "A Prostituta" ("The Prostitute")

Uneducated prostitute Liz (Theresa Russell) works the L.A. streets. She is beaten up by one bad trick. She recalls various Johns. She married the local alcoholic hunk. They have a son together. She leaves her drunken husband with her son to her mother. As a waitress, she is introduced to prostitution.

Breaking down the fourth wall is an interesting style. The constant unceasing nature does wear thin after awhile especially with Russell's voice in this character. This is more of a monologue. The minimalist style is more due to the lack of budget. Director Ken Russell considers this his anti-'Pretty Woman'. He has certainly drop kicked Pretty Woman and raped her from behind. It is a fascinating take but not a completely successful one.

"Whore" is , appropriately, a cartoonish response to "Pretty Woman". The cartoonish, satirical bent the film has (in the face of its horrific situations) is exactly what makes it so brilliant. What was so awful about "Pretty Woman" was the commodification of prostitution as something glamorous, fulfilling and rewarding; pablum to be swallowed by American masses. "Whore"'s success depends less on the performances and direction and more on the viewer's willingness to think. The ideology that Ken Russell has placed on the material is unmistakable and renders everything else about the film meaningless. It really comes down to the viewer--If you are intelligent enough as a viewer to read the subtext, you either agree with it or you don't. Personally, I love everything about it, from Teresa Russell's sarcastic, bombastic, career-wrecking performance to the simple joy of seeing Antonio Fargas on screen again, "Whore" is a great, intelligent film worth repeated viewings. The real tragedy is that this will be Ken Russell's last great film. He has lived long enough to see his wonderful style get railroaded into soft-core porn and made-for-cable sci-fi. The world would be a better place if he had been bestowed with the same luck as Paul Verhoeven.

Ken Russell's "Whore" begins with an amusing shot of cars driving through a tunnel (R-rated Freudianism?) coupled with a Jamaican rap on the soundtrack about doing the "boom boom" with girls. Russell, who directed the film and co-adapted the screenplay from David Hines' play, is highly adept at quirky bits of business--blending hammy, outré comedy with blunt-force dramatics--but with "Whore", his mix of in-your-face, sexually-comedic bits and pieces are not always compatible bedmates next to the violence or the introspective moments. Theresa Russell plays Liz, a streetwise hooker full of bravado; often addressing the camera directly, Theresa speaks with an odd swagger in her voice (as if she's channeling someone standing beside her). Striking amazing poses--like Lolita all grown up--Theresa Russell has some choice moments (usually when she's not speaking, as with a silent come-on to a guy who turns out to be gay), but she is not a vulgar, cartoony actress and is too refined to be slutty. Her performance continually improves, however it isn't in the actress's nature to talk tough like a lady truck-driver. There are well-wrought sequences (such as when Russell's friendship with a possible lesbian is interrupted by a vicious pimp, an incredible moment done without principle dialogue), but the film isn't very sexy. Those looking for a raucous good time will be disappointed (can you imagine how that inelegant title looked on the movie theater marquees?), and those hoping for a serious take on the prostitution business probably won't stick around past the first hour. Many scenes simply fall flat, yet "Whore" is a mixed-bag; it's not a deep-thinker, it's not exceptionally revealing, but it leaves an impression behind, along with some giggles, some embarrassment, and some sadness. ** from ****

Russell's often cited, perfect retort to "Pretty Woman" deals with a Los Angeles streetwalker and her myriad of seedy misadventures as a woman of the night...and day. Based from a stage play, it pretty much works like that, but basically set outdoors.

Russell (Theresa, that is), directs monologues at the camera in between interaction with various figures in her life. Be it her Brooks Brothers pimp (who looks more like a yuppie banker) or a pair of dopey foreigners she co-mingles with. Odd that Russell (the director) would choose not one, but two men of far-away descent for the female Russell to play off of. The first being what seems to be a Jamaican (though played by African-American actor Fargas) for midnight chats, and a clichéd Arab who says cutesy things like "Will you be doing it without a rubber thing?".

Russell's story darts about in different fashions, from flashbacks to in-the-moment pick-ups from customers. At one point director Russell even cuts to the pimp cruising the streets and waxing philosophical to the camera as well. Those expecting something gratuitous to munch popcorn to need to look elsewhere. Whoring is not glamorized here, with gang rapes, slashed hookers, and hateful tricks full of salty language. Once in a while (director) Russell lightens things up with throwaway gags (no pun) including a comical caning and a shoe-fetish nutbar who even comes with a small script.

Physically, Russell is an effective choice for Liz, perhaps a little too pretty, but does sport a big butt and a few extra pounds. What distracts more is Russell's exceedingly uneven performance, one of the more mixed I've ever seen. Crossing an Elvira voice with a jr. high intellect, she captures your attention, though not always winningly. Part of the problem is the all-too-apparent dubbing of her voice for the street scenes. In order to remove the horns and whooshing of cars, her re-reading of lines is sometimes painful to listen to. Her quieter moments of pre-prostitution life work better, she being portrayed more as innocent and naive. Along with those scenes being shot indoors.

The film sometimes lapses into inappropriate satire or bawdiness, then will slug you with broken fingers and slashed throats. It doesn't always work, but holds your attention. Sort of a reworking of Russell's far superior 1984 work, "Crimes of Passion", with the same wise-assed hooker approach. Though that film was more straight-forward, and a had a three-character triangle of obsession, marital commentary, and redemption. Here the femme Russell is pretty much by herself, leading a more one-note lifestyle. Seek out "Crimes" for the better movie; seek out "Whore" for a gritty reality check.