Those interested in experiencing Canada’s first explicit sex picture can now do so with ease, but be warned that it makes CANNIBAL GIRLS look like THE OLD DARK HOUSE by comparison. Under the circumstances, the fullscreen 1.33:1 presentation of- fers little to complain about. Shot on 16mm film, the image features limited contrasts and is fairly soft, but colors are sufficiently robust and there is only isolated, minor wear; the audio is fine. The release also includes an unused theatri- cal trailer with spoiled color, as well as an insert with liner notes by Dimitrios Otis that document the project’s history and some original comic book art by Rick Trembles.
Identified onscreen as THE VIXENS OF KUNG FU (A TALE OF YIN AND YANG), the poster for this impoverished East Coast porn outing would seem to prom- ise erotic martial arts fighting, but the sex and the “action” are sepa- rate and similarly underwhelming. After she is drugged and raped by a trio of hunters (including Jamie Gillis and Bobby Astyr), prostitute
Yin (Bree Anthony) encounters a martial arts teacher (BARBARA BROADCAST’s C.J. Laing) and her small group of female stu- dents. After demonstrating her sexual prowess with her new men- tor, Yin begins to receive instruc- tion in kung fu (which mostly consists of the students doing breathing exercises that cause smoke to issue from their vaginas and, of course, having more sex). When travelling monk Yang (Tony Richards) inadvertently interrupts one of these sessions, the girls “devour” him and leave their drained “victim” for the wolves. Yang manages to escape to Chinatown, where he prepares for a re-match under the tutelage of restaurant cook Ha Tien-sau (Peo- nies Jong) who is actually the “Master of the Fantastic Kung Fu.” Travelling to Bear Mountain, the Monk learns the Golden Dragon Raising Head technique (which apparently consists of the mystical ability to masturbate outdoors in front of other people) and returns to face off against Yin, who has been undergoing her own special training regimen.
Shot somewhere in an upstate New York forest in early autumn, VIXENS features the usual com- bination platter of sexual encoun- ters as well as hilarious fight scenes consisting of people strik- ing poses and jumping through the air while the editor frantically uti- lizes frame removal and jump cuts to present a semblance of martial arts ability. Milling (credited as simply “Chiang”) follows the usual American practice of the time to blend every Asian culture into all things “Oriental” (including Yang mentioning “my Japanese kung fu master”) and characters come and go with little rhyme or reason in the confusingly edited storyline. The erotic sequences are too me- chanical to be stimulating and the explicit sexual assault (which is accompanied by cheery bluegrass music, no less) may be an early deal breaker for some. Those who do stick around will definitely de- rive some camp value from this East Coast adult relic and an exceedingly fine presentation certainly helps.
Digitally mastered in 2K from the original camera negative,
THE VIXENS OF KUNG FU demonstrate their stances, which work best when they are pantless.
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