poomyatta

This relatively hard to find DVD from the soft core Vivid Studio probably isn't worth the effort of tracking down unless, like me, you're a fan of sexy and talented Jacqueline Lovell. The video was reportedly produced in 1996, just before Ms. Lovell became known as the star of several Full Moon / Surrender Cinema productions like Femalien, Head of the Family, and The Exotic House of Wax. She was working under the name Sara St. James at the time, though Vivid curiously spells her stage name "Sarah" St. James.

Channel Island Girls is perhaps slightly more explicit than most of the work Lovell did for Surrender, though still very much in the soft core range. Basically, she romps around fully nude, oils herself up with suntan lotion and sunbathes, models some lacy lingerie, takes a shower on the deck of a yacht, and at the climax of the video, gets cozy with her costar Selena for a steamy lesbian love scene. The plot, if you can call it that, consists of Selena introducing each segment by describing her vacation adventures to a friend over the phone. There are three other actresses / models in the video too, but Selena is the only cast member with a speaking part. Through most of the video, the soundtrack consists of the usual pulsing mood music. I was a bit disappointed Jacqueline didn't get any dialog since she's a perfectly competent actress - considerably more accomplished than the likes of Selena, I dare say. Of course I know most of the audience for this type of production could care less if there's any dialog at all and the video does deliver plenty of what viewers will want to see: lots of bare skin.

The DVD features an abundance of extras, including an entire second side of clips from other Vivid releases, mostly strip acts and a few other travelogue themed shoots like this one. There's also some amusing behind the scenes footage in which Lovell complains of being cold and having a bad hair day. Incidentally, during these out takes, the director and Selena both refer to her as "Jackie," not "Sara." Ah, the confusing lives of adult video actresses.

If you've never heard of Heidi Fleiss, the enterprising young woman who went from adolescent party girl to high profile prostitute and became Tinseltown's richest and most famous madame within the span of just a few years, this fast paced made for television drama will fill you in on all the sordid details. What it won't do is help you understand people like Fleiss or care in the least abut her or any of her associates. Norman Snider's script offers few insights into the madame's motivations, though to his credit, he wisely avoids the heavy handed moralizing I expected. Director Charles McDougall's constantly moving camera and slick, quick cuts make the movie look like a 90 minute music video. The combined result is a constantly interesting but rarely emotionally engaging tour through Fleiss's world of seduction and betrayal. The film often seems like little more than an excuse to show sexy babes modeling skimpy lingerie, lounging around the pool in their bikinis, or servicing clients in carefully edited softcore sex scenes. It's all entertaining fluff, but I found myself wishing for a bit more substance underneath all the superficial gloss.

The film's biggest problem can be summed up best in just three words: Jamie-Lynn DiScala. This young actress seems competent enough playing the pampered daughter of a mob boss on THE SOPRANOS, but then I doubt that role would be much of a stretch for a lady who was apparently so obsessed with her own appearance she suffered from a type of bulimia for years. To the best of my knowledge, the Fleiss character is DiScala's first serious adult role and I'm sorry to say she doesn't exactly rise to the challenge. Her idea of portraying a confident, calculating woman is to parade through the film wearing the same vapid smirk on her face in practically every single scene. Her performance is so staggeringly unconvincing it drags down the whole production to the dramatic level of a sixth grade classroom play. In an interview in TV GUIDE, DiScala herself openly admits she wasn't able to relate to the Fleiss character. She goes on to say she discussed the film's sexual content with the director and told him `I don't know how I'm going to be able to do this.' She also divulges that during one of the sex scenes, she broke into tears and had to be replaced by a body double, even though no on-screen nudity was required. These confessions are very sweet and precious, but they do beg the obvious question: why would she accept the leading role in a film about a prostitute if she was so nervous about doing erotic scenes? Did she even bother reading the script before signing the contract?

DiScala claims she trimmed down by 15 pounds for the part, an admittedly serious health risk for a former bulimic. But considering how awkward she looks throughout this movie, her torturous physical preparation for the role only reveals how utterly warped her priorities are as an actress. My advice to Ms. DiScala is skip the dieting in the future and instead concentrate on some acting method classes. Or better yet, stick to playing pouty adolescent princesses and leave the serious adult roles for real actresses.

In a way, though, I suppose DiScala's presence in this film is ultimately appropriate. Both she and the movie as a whole look extremely sexy but fail to display one iota of depth.

When softcore sex films first started to catch on back in the '50s, filmmakers began injecting nudity and sex into every type of plot they could think of. One of the most novel exploitation subgenres that resulted is the nudie western, a type of film that vividly illustrates just how wild the west really was. THE RAMRODDER is a relatively late but noteworthy entry in the realm of naughty westerns.

While returning home to his bride Lucy (Julia Blackburn) after finishing a cattle drive, rancher Rick (Jim Gentry) spies a group of gorgeous Indian maidens frolicking nude in a river. After a saddle-tramp bandit attacks him and leaves him for dead, one of the gals, the luscious Princess Tuwana (Kathy Williams), comes to his aid and befriends him. The two make love in a lake and fall for one another, even though Rick is engaged to Lucy and Tuwana is promised by tribal law to the chief's short-tempered son. When the same scoundrel who assaulted Rick rapes an Indian virgin, Rick gets blamed for the crime and a trio of rebellious young braves vow revenge on the entire white race. It all leads to more violence and an unexpectedly downbeat ending.

Fortunately, the plot never gets in the way of the frequent and mostly gratuitous exploitation scenes, during which Tuwana performs an erotic tribal `Dance of the Virgin' (before her fateful interlude with Rick, of course!), competes against her rival Lucy in a topless catfight, and gets strung up naked by her wrists and whipped. Director Ed Forsyth makes the most of all the nudity, too. During Tuwana's dance, he uses a low angle camera shot that stares straight up into her crotch, and when she wrestles with Lucy, he includes several close ups of the actresses bouncing their big breasts against one another.

Thanks to this fetishistic approach and the presence of Ms. Williams, who doesn't look at all Native American but is drop-dead gorgeous regardless, the movie is a minor exploitation classic. Adding to the film's notoriety, the bandit is played by Bobby Beausoliel, who was arrested in connection with the Manson murders shortly after appearing in this film.

`Ramrodder,' in case you're curious, is a now obscure term for a person who leads a cattle drive. Somehow, though, I have a sneaking suspicion Forsyth might have had more carnal connotations in mind when he chose the title.