I have always refrained from reviewing Armand Weston's classic TAKE OFF as I only ever got to see it in a French version, making it feel inappropriate for me to assess the quality of this uncommonly plot-heavy adult film. So I decided to postpone judgment until I got to see the movie in its original version. Last night, at the good old ABC theater in Brussels, I finally caught up with it...
This movie's based on Oscar Wilde's ironically timeless "Picture of Dorian Gray", using that narrative as a framework to spoof a number of Hollywood classics and their iconic stars Cagney, Bogart and Brando. Commencing at a present day pool party where no one seems to know the host, lusty Linda (radiant yet criminally underrated Lesllie Bovee) retreats to the palatial mansion with cowboy Ray (stalwart Eric Edwards) for nookie when she accidentally turns on an old movie projector. Before their disbelieving eyes unspools a reel of passionate poking between a 1920's flapper and her decrepit old lover. Losing Ray once they're out of the house, Linda finally meets their host, handsome Darrin Blue (the late Wade Nichols, who passed away from AIDS in 1985) who begins to tell her his strange life story. Young lover of free-thinking socialite Henrietta (another award-winning turn from the legendary Georgina Spelvin) in 1922, he was first confronted with his youthful beauty – the value thereof his mistress never failed to emphasize – when she had their lovemaking surreptitiously filmed by her chauffeur. As the more mature Henrietta bemoans the inevitable decay that time will bring, Darrin utters the wish that not he but his image on film should age instead. So be it
The four intervening decades are presented as mini movies, affectionately sending up cinematic genres of the period with manic humor that may not suit everyone's tastes but should score with fans of early Zucker and Abrahams. The '30s tackle gangster movies with John Dillinger and a Hollywood hopeful named "Jean Harlot" (played by one shot wonder Brigette Lynne), Blue's moll for the occasion (marvellous, under-appreciated Clea Carson) taking a cream cheese bagel rather than a grapefruit to the kisser. CASABLANCA monopolizes the '40s segment, with tons of Bogey and Bacall and Raymond Chandler references thrown in for good measure. Virginia Slims (awesome Annette Haven) is trying to secure passports for her unseen husband and his teenage daughter (Ursula Austin, star of Doris Wishman's singular explicit foray COME WITH ME, MY LOVE) with cult drag queen Holly Woodlawn guesting as a very frisky torch singer. Toothsome Susaye London (from Jim Clark's TEENAGE PAJAMA PARTY) dons a yellow polka dot bikini for the '50s with rebel without a cause Darrin rescuing her from a group of raging hormone youths (spot Peter Andrews and John Smith, leading man in Jesse Pearson's LEGEND OF LADY BLUE) before collecting his due reward. The '60s are for drugs and hippies like angel-faced Patty Boyd, black starlet Gloria Todd, ravishing Beth Anna (a/k/a "Joanna Miquel" in Roberta Findlay's FROM HOLLY WITH LOVE) and future "Pussyman" David Christopher.
Lamenting the passing of time and his inability to form a lasting romantic connection because of his unchanging youthfulness, Darrin makes love to Linda near the now deserted moonlit pool. Inside, there's a doddering old lady watching his dirty home movie one last time before it turns to dust. Henrietta's return makes for an unexpectedly touching conclusion to this magnificent adult classic, singled out by Bill Margold as the best porn film ever made. If anything, TAKE OFF must surely rank as one of the very few sex films that are almost too ambitious, its lofty aspirations apparently scaring off initial audiences as it actually lost money on its first run. Dialog is frequently inspired and witty, forcing viewers to pay attention even while everyone's fully clothed. Production proves as impressive as adult was ever gonna get, soon to become mainstream DoP Joao Fernandes finally reverting back to his real name after many years as "Harry Flecks" for Gerard Damiano mostly. The sepia-tinted 1920's sequence looks particularly stunning. Cult band Elephant's Memory contributes a varied score, perfectly suited to each time frame, with even a catchy title song.
With a cast list that reads like a virtual Who's Who of Golden Age porn, it's little wonder that the acting stands as some of the best this genre has ever seen. Hunky Nichols really holds the film together as Darrin, imbuing the character with a tragic loneliness – those sad, haunted eyes ! – tempered by his various cute movie star impressions. Sex ranging from tender to passionate is stylish and steamy but never raunchy, making this another perfect pick for couples wishing to heat up their nighttime viewing. Annette was at the height of her porcelain perfection here and she will take your breath away in her exquisitely lit bedroom romp with Wade, not to mention her staircase Sapphic with unsung Ursula. From opening to closing credits, this is one act that's hard to follow.
This movie's based on Oscar Wilde's ironically timeless "Picture of Dorian Gray", using that narrative as a framework to spoof a number of Hollywood classics and their iconic stars Cagney, Bogart and Brando. Commencing at a present day pool party where no one seems to know the host, lusty Linda (radiant yet criminally underrated Lesllie Bovee) retreats to the palatial mansion with cowboy Ray (stalwart Eric Edwards) for nookie when she accidentally turns on an old movie projector. Before their disbelieving eyes unspools a reel of passionate poking between a 1920's flapper and her decrepit old lover. Losing Ray once they're out of the house, Linda finally meets their host, handsome Darrin Blue (the late Wade Nichols, who passed away from AIDS in 1985) who begins to tell her his strange life story. Young lover of free-thinking socialite Henrietta (another award-winning turn from the legendary Georgina Spelvin) in 1922, he was first confronted with his youthful beauty – the value thereof his mistress never failed to emphasize – when she had their lovemaking surreptitiously filmed by her chauffeur. As the more mature Henrietta bemoans the inevitable decay that time will bring, Darrin utters the wish that not he but his image on film should age instead. So be it
The four intervening decades are presented as mini movies, affectionately sending up cinematic genres of the period with manic humor that may not suit everyone's tastes but should score with fans of early Zucker and Abrahams. The '30s tackle gangster movies with John Dillinger and a Hollywood hopeful named "Jean Harlot" (played by one shot wonder Brigette Lynne), Blue's moll for the occasion (marvellous, under-appreciated Clea Carson) taking a cream cheese bagel rather than a grapefruit to the kisser. CASABLANCA monopolizes the '40s segment, with tons of Bogey and Bacall and Raymond Chandler references thrown in for good measure. Virginia Slims (awesome Annette Haven) is trying to secure passports for her unseen husband and his teenage daughter (Ursula Austin, star of Doris Wishman's singular explicit foray COME WITH ME, MY LOVE) with cult drag queen Holly Woodlawn guesting as a very frisky torch singer. Toothsome Susaye London (from Jim Clark's TEENAGE PAJAMA PARTY) dons a yellow polka dot bikini for the '50s with rebel without a cause Darrin rescuing her from a group of raging hormone youths (spot Peter Andrews and John Smith, leading man in Jesse Pearson's LEGEND OF LADY BLUE) before collecting his due reward. The '60s are for drugs and hippies like angel-faced Patty Boyd, black starlet Gloria Todd, ravishing Beth Anna (a/k/a "Joanna Miquel" in Roberta Findlay's FROM HOLLY WITH LOVE) and future "Pussyman" David Christopher.
Lamenting the passing of time and his inability to form a lasting romantic connection because of his unchanging youthfulness, Darrin makes love to Linda near the now deserted moonlit pool. Inside, there's a doddering old lady watching his dirty home movie one last time before it turns to dust. Henrietta's return makes for an unexpectedly touching conclusion to this magnificent adult classic, singled out by Bill Margold as the best porn film ever made. If anything, TAKE OFF must surely rank as one of the very few sex films that are almost too ambitious, its lofty aspirations apparently scaring off initial audiences as it actually lost money on its first run. Dialog is frequently inspired and witty, forcing viewers to pay attention even while everyone's fully clothed. Production proves as impressive as adult was ever gonna get, soon to become mainstream DoP Joao Fernandes finally reverting back to his real name after many years as "Harry Flecks" for Gerard Damiano mostly. The sepia-tinted 1920's sequence looks particularly stunning. Cult band Elephant's Memory contributes a varied score, perfectly suited to each time frame, with even a catchy title song.
With a cast list that reads like a virtual Who's Who of Golden Age porn, it's little wonder that the acting stands as some of the best this genre has ever seen. Hunky Nichols really holds the film together as Darrin, imbuing the character with a tragic loneliness – those sad, haunted eyes ! – tempered by his various cute movie star impressions. Sex ranging from tender to passionate is stylish and steamy but never raunchy, making this another perfect pick for couples wishing to heat up their nighttime viewing. Annette was at the height of her porcelain perfection here and she will take your breath away in her exquisitely lit bedroom romp with Wade, not to mention her staircase Sapphic with unsung Ursula. From opening to closing credits, this is one act that's hard to follow.