Taboo 5: The Secret, Full (1986)

72% (127 / 51)

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Description: Due to her split personality, a single mother tries seducing her son. Though he is panicked at first, his lust eventually causes him to surprise her in her sleep. Meanwhile, the mother's cheated psychologist is seduced by his daughter.
Scene Breakdowns
Scene 1. Karen Summer, Joey Silvera
Scene 2. Colleen Brennan, Lorrie Lovett, Kevin James
Scene 3. Porsche Lynn, Joey Silvera
Scene 4. Amber Lynn, Jonathon Younger
Scene 5. Amber Lynn, Jamie Gillis
Scene 6. Karen Summer, Buck Adams
Scene 7. Amber Lynn, Billy Dee, Jonathon Younger
Scene 8. Karen Summer, Jamie Gillis
Scene 9. Colleen Brennan, Shone Taylor
Review:
Although separated from the exceptional TABOO IV by only a year, this next and somewhat final installment - subsequent "sequels" were handled by other directors and focused on less sulfurous subjects than incest - clearly shows that the rot was already setting in. Oldtime porno palaces were closing their doors and cheapskate shot on video provided a much bigger return on investment. Adult "cinema" had nowhere left to go. Kirdy Stevens and wife Helene Terrie had built a profitable cottage industry on the foundations of family frolicking but the times were finally catching up with them. While TABOO V is far from a bad movie, production shortcuts are palpable.

The involved and complex storyline picks up where the previous episode left off with wealthy psychiatrist Jeremy Lodge (an effectively subdued Jamie Gillis) trying to fill the void left by his all too loving daughter Robin (Ginger Lynn) with nasty Satana (one of Amber Lynn's most electrifying performances) who gleefully treats him like excrement as she brazenly brings her black lovers (Jonathan Younger & Billy Dee) into the apartment he has rented for them as a pad for their private canoodling. His other daughter Naomi (the underrated Karen Summer) has married her acting teacher Dalton (Joey Silvera, eschewing his familiar goof-ball persona) who now wants to keep her out of the limelight and in the kitchen. Main reason of course is that he wants to keep on screwing aspiring young actresses on the side, something Naomi catches onto when she walks in on him "auditioning" the very accommodating Porsche Lynn. Tearful, she rushes back to dear old dad.

The Lodge lineage is inter-cut with one of the doc's latest case studies, that of prim 'n proper Mary (former soft-core starlet "Sharon Kelly" now Colleen Brennan in a characteristically terrific turn) who keeps waking up in strange men's beds, being called "Maureen" in post-coital bliss. Widowed at a young age and emotionally scarred from an abusive past, Mary's secretly attracted to her teenage son (the appropriately youthful-looking Shone Taylor), a desire she can only give into as her slutty alter ego. Although this merely boils down to typical porn pop psychology (the whore/Madonna complex at its finest) in the end, Brennan does a bang-up job creating considerable audience sympathy for her character's plight. Mary's "slumbering" nymphomania also allows Stevens to tie this episode to the McBride family storyline from TABOO II, III and IV by trotting out their son Junior (the late Kevin James) as one of her one night stands, bleached blonde squeeze Lorrie Lovett in tow, for one of the film's fornication highlights.

While both narrative strands possess potential interest, more time might have been devoted to Brennan's which now feels unnecessarily choppy. Since it's no great surprise where either plot is heading towards, blood relations taken to illogical extremes being the series' bread and butter, much of the drama feels reduced to down-market soap operatics this time around. Dialog seems rushed or at least under-rehearsed, which is particularly harmful to the less accomplished actors with Taylor floundering in a part several sizes too big for his puny prowess. At least his climactic coupling with mom and her shifting personalities comes off well.

Thuddingly unimaginative '70s TV Movie of the Week type cinematography and meat cleaver editing are both indicative of a rush job. At least the soundtrack (containing a couple of original songs, unfortunately, repeated ad nauseam) by Christopher Saint Booth, who was the "Saint" scoring all those glossy Nicholas Steele movies for Adam & Eve, takes a shot at emulating the amazing Leon Felburg scores found in preceding parts of the series.

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