Sexcapades, Uncut (1983)

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Description: A bankrupt movie director accepts to direct a porn against his wife’s will. But he wants it to be the ultimate adult film.
Scene Breakdowns
Scene 1. Joanna Storm, Alan Adrian
Scene 2. Sharon Mitchell, Eric Edwards
Scene 3. Ashley Welles, Michael Bruce
Scene 4. Lee Caroll, Sharon Kane
Scene 5. Sharon Kane, Joe Santini
Scene 6. Tiffany Clark, George Payne
Scene 7. Mai Lin, Eric Edwards
Scene 8. Lee Caroll, Mai Lin, Eric Edwards
Review:
The first of Ron Sullivan's adult industry exposés still remains one of his finest works, no small praise for a career lined with such all time classics as BABYLON PINK, A GIRL'S BEST FRIEND and THE DEVIL IN MISS JONES, PART II. In keeping with the themes explored here, he exchanges the glossiness of those aforementioned films for more modest if solid production values with lighting and camera work particular standouts. After more than two decades, the frequently venomous satire has lost none of its bite, though it generally tends to steer clear of the mud-slinging approach of Joyce Snyder's RAW TALENT series.

Former adult filmmaker (and Sullivan's alter ego) Harry Crocker, exceptionally well portrayed by veteran performer Eric Edwards (who was in those pre-DEEP THROAT loops with Linda Lovelace), has built a respectable life away from the industry with his snooty spouse Miriam (Sharon "Mitch" Mitchell, very funny and surprisingly credible as a prude after nearly a decade's activity within the genre), his lofty documentaries gaining respect yet losing money, forcing him to go back for "one last time." Yeah, right!

Producer Lorraine Loveborn (nasty Lee Carroll has never been better) has her personal reasons for luring Harry back to the fold and her own style of auditioning new talent, as evidenced by her jaw-dropper of a scene with aspiring starlet Sharon Kane (who made her debut in Alex deRenzy's 1978 PRETTY PEACHES and is actually still around today), possibly the most high voltage Sapphic sizzler this reviewer has ever witnessed. As shooting gets under way, this allows Sullivan to add all sorts of cute little observational gags. Personal favorite may be Joanna Storm's bungled audition (with Allan "Spike" Adrian) that opens the film. Struggling to find an appropriate ending, Harry has to create a fresh spin on the typical porno situation of the master seducing his maid, the enactment of which (with Mai Lin looking scrumptious in domestic garb) leads to an unforeseen conclusion.

Sullivan clearly knows his turf and the material here is simultaneously bitter and upbeat (so shall we call it realistic instead ?) about the industry. Dialogue is clever and delivered to perfection by a highly talented cast. Funniest line (perhaps ever in porn) must be Sharon Kane's reply to Carroll's request as to whether she would consider back door intercourse : "If the script justifies it."

Sex varies from light and breezy such as the on-set stuff with master Michael Bruce and maid Ashley Welles to hot and heavy, a good example of the latter being the incredibly intense sequence with Edwards talking a totally turned-on Tiffany Clark (who made such a splash in Richard Milner's highly enjoyable CENTERFOLD FEVER) through a professional performance with stalwart George Payne. More affectionate and milder (yet still with an axe to grind), GREAT SEXPECTATIONS proved an equal as well as a sequel to this fine film, recounting the further adventures of Harry Crocker, this time as deeply immersed in porn as he has ever been. The glamorized beyond recognition (courtesy of producer David Friedman whose soft core classic STARLET! was re-adapted for the occasion) Matinée IDOL unofficially completed Sullivan's industry insider triumvirate.

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