Adult film legend Jamie Gillis prepares to make the moves on Bree Anthony in ORIENTAL BLUE.
VIXENS boasts a sharp image and very attractive colors, particu- larly during the sunny exterior footage. The anamorphic 1.85:1 presentation almost certainly ex- ceeds what was offered by the original 35mm release prints and is a huge improvement over the dark and largely colorless full- screen transfer previously on disc. This new incarnation sports what is apparently the movie’s original audio track, offering some unau- thorized music (including Chinese songs) that was partially replaced on the older release.
Vinegar Syndrome has paired
VIXENS with Milling’s decidedly better ORIENTAL BLUE, which features some of the same cast, but aims a bit higher than its co- feature. Aided by the orally adept Angel (C.J. Laing), Madame Blue (Peonies Jong) runs a white sla- very ring specializing in delivering girls who will satisfy a client’s ev- ery desire. Her main buyer (the World Bordello Association, no less, fronted by the ever-sleazy Bobby Astyr) has placed another order, so various women (including
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Kim Pope and Terri Hall) are given a souped-up aphrodisiac and bro- ken in, usually with the help of Madame Blue, who also makes a point of sealing her deals in a simi- larly pleasurable fashion. Most notable among Blue’s regular pro- curers is the particularly cold- hearted Brock (Jamie Gillis), who makes the mistake of falling for his most recent pick-up, eternally naïve Antea (Bree Anthony). In an uncharacteristic instance of con- science, Brock refuses to turn the girl over to Blue for erotic servi- tude, jeopardizing the madame’s contract with the WBA.
Possessing an actually logical (if flimsy) storyline and some great night views of New York City Chinatown locations, ORIENTAL BLUE (signed by Milling as “Philip T. Drexler, Jr.”) looks far more professionally made than its co- feature and also offers more en- ticing sexual interludes. The abduction/sexual slavery angle suggests a throwback to the East Coast roughies of Michael Findlay
and the Olga series, but the film avoids showing any actual torture
or unpleasant consequences, save for a rather silly and hasty wrap- up. The patchwork soundtrack includes a number of familiar li- brary cues along with bits rifled from ENTER THE DRAGON and Linda Ronstadt’s “You’re No Good,” “Sweet Talkin’ Guy” by Manhattan Transfer, “Things I Don’t Understand” by Renais- sance, “Chinatown” by The Move, and “Hey Bulldog” by The Beatles! Once again, the anamorphic 1.85:1 transfer (a 2K scan of the 35mm answer print) looks much better than what anyone used to adult fare of this era has come to expect. A bit of wear is evident, but the image is usually always well-detailed and colors are attrac- tive and stable. There are no ex- tras and as is customary with this label, the chapter stops for both movies have been placed at the original 35mm reel change points.
SHOWDOWN AT BOOT HILL
1957, Olive, 71m 47s, $24.95 DVD-1, $29.95 BD-A By John Charles
Following the success of his directorial debut I WAS A TEEN- AGE WEREWOLF (1957) for AIP, editor-turned-director Gene Fowler, Jr. was recruited by Re- gal Films to helm this B-west- ern, which was distributed by 20th Century Fox. Deputy Marshal Luke Welsh (Charles Bronson) rides into Mound City in search of killer Con Maynor (BRAIN FROM PLANET AROUS’ Thomas B. Henry). Forced to gun Maynor down when he resists arrest, Welsh discovers that the dead man had a number of good friends, all of whom claim that they cannot identify the body. Now lacking documented proof to certify his $200 bounty claim and unable to even present pho- tographic evidence after the only camera in town is purposely
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