Blue stockings, red stockings, black stockings. Is there any significance to the order in which the stocking-clad women who greet a confused businessman in the ultra-creepy, ultra-weird Corruption? Why do blue stockings come before red stockings? And why do black stockings come last? Is the colour blue meant to represent something? Maybe the colour was used to give the scene a sort of a cool, detached flavour. In other words, you can looking at my legs encased in blue hold-up stockings, but don't you dare touch them. Yeah, that makes sense, as the next pair of nylon-clad legs are sheathed in red stockings. And we all know that red represents fire, the complete opposite of cool. What about black? Good question. What does black mean? Hey, sorry to interrupt this nylon-based chromatic dissertation you having with yourself, but isn't this kind of movie you're supposed to masturbate to? First of all, I wouldn't call what I was doing a "dissertation," they're way longer than a few sentences strung together; incoherent blather would be a more apt description. And secondly, "masturbate to"? Don't be vulgar. This film was made by Roger Watkins (The Last House on Dead End Street), one of the few visionaries working in the consecrated cesspool that is x-rated cinema. You don't masturbate to his films, you clasp your hands by your chin and nod ever-so slightly as you soak in the artistry. Nevertheless, getting back to my original point, there is definitely a hidden meaning behind the colours of the stockings. I mean, there has to be. And get this, the colour of the lingerie matches the walls as well. Don't tell me, is this one of those flicks where a character goes from room to room, having sex with scantily clad women along the way? It is, isn't it?
One of the pleasures of watching an x-rated film that was clearly made by an artist, and make no mistake, Roger Watkins is an artist, is picking out all the subtle details that the raincoat crowd would surely miss. Oh, that reminds me. One of the primary reasons I responded so positively to Corruption, besides the fact that the film features the pleasing shape that is Tish Ambrose's ass, was the fact that the so-called "raincoat crowd" (a.k.a. dedicated patrons of erotic movie houses) probably despised this film. And, no. It's not because they dislike things are awesome. Mainly because a pussy isn't penetrated by a penis until we're well into the production. Oh, sure, fingers and tongues come close on several occasions to hitting vaginal pay dirt in the early going. But the raincoat crowd is going to need to see a lot more than a slight labia dusting to achieve the liquid-based satisfaction they so wantonly crave.
And they're definitely not going to get it by watching the opening scene, as Mr. Williams (Jamie Gillis) tries to reassure a seated Mr. Franklin (Michael Gaunt, a.k.a. Larry the Lineman from A Woman's Torment) that he "believes in business." From the looks of it, Mr. Williams was given something by Mr. Franklin and his associates, and they seem to expect something in return. What it is they want from Mr. Williams exactly isn't quite clear. But I'm guessing it involves power. And what represented power during the 1980s? That's right, a nondescript briefcase. It doesn't matter what's in it, just as along as you're holding one.
You know how I said that Mr. Franklin has "associates"? Well, it would seem that Mr. Williams has some as well. And one of these "associates" is entering a mysterious building while electronic music throbs on the soundtrack. The music heard during the build up to this scene sounds like it's from The Thing, but I'm not 100% sure about that. Anyway, this "associate," who is probably more of an errand boy that an associate, is actually a man called Alan (George Payne), and he's about to go on a strange erotic trip.
In order to go on this "strange erotic trip," he must first get past the "person behind the desk," a.k.a. "woman at desk." Played by Samantha Fox ("Lisa" from Her Name Was Lisa), the woman behind the desk confuses Alan with cryptic language. You'll notice that Samantha Fox is reading Cosima Wagner's Diaries 1878-1883. Which makes perfect sense since Roger Watkins' porn nom de plume is Richard Mahler, an amalgamation of the names of classical composers Richard Wagner and Gustav Mahler. Well, enough about that, Alan is about to enter the first room. Why is he going in there? The woman behind the desk told him that if he wants what he's looking for, he's going to have to enter that room to get it. Okay, that sounds simple enough. Oh, you're so naive. I'm talking about Alan, not you, by the way.
Told immediately to sit down, Alan is greeted by the "Woman in Blue" (Tanya Lawson). And by "greeted." I mean she proudly flaunts her hairy pussy (which is beautifully framed by a pair of blue stockings) with much fanfare. Itching to show off her vagina in a more flattering light, the "Woman in Blue" sits down on a blue chair and spreads her legs (a surefire way to get your genitals more word of mouth). Instructing him to "do nothing," the "Woman in Blue" pulls down the breast-covering mechanism attached to her blue corset and begins playing with her nipples. When she's done doing that, she beckons him to smell her pussy; that's right, smell. When she feels that he has experienced everything her cunt has to offer odor-wise, the "Woman in Blue" pushes him away, and proceeds to finger herself for an extended period of time.
If you're confused by what just happened, you're not alone, as Alan seems more perplexed than ever. After the extended period of time I alluded to earlier runs out, the "Woman in Blue" informs Alan that what he's looking for is beyond that door. You mean? Yep, another room, and another colour-coordinated lingerie-enthusiast to contend with. This time it's a woman in red lingerie, oh, let's call her the "Woman in Red" (Marilyn Gee), who greets Alan. However, unlike the "Woman in Blue," the "Woman in Red" wants Alan to do more than smell her pussy. You guessed it, she wants him to eat it.
Sliding off her red panties in a gingerly fashion (she obviously doesn't want to disrupt the structural integrity of her equally red stockings), Alan seems to relish this opportunity to get his face smeared with vaginal wetness. His relish is rewarded when she puts his cock (the male equivalent of a pussy) in her mouth. Of course, she doesn't just leave it in there, she removes it every so often, like she was sucking on a Popsicle. As she is, as the kids like to say, "blowing him," Roger Watkins gets in touch with his inner Jess Franco by giving us a gratuitous leg pan. Just as he's about to deposit his load skyward, or downward, depending on the viscosity of his wad, the "Woman in Red" removes his cock, denying him the opportunity to spew his seed. What are you trying to say? Let me put this way, there will be no clean up necessary in the red room on this day.
Even though the women who have greeted Alan so far have been alluring in terms of sex appeal, nothing could have prepared me for the shapely perfection that is Tish Ambrose's pale ass. If that wasn't enough, the scene where Alan meets the "Woman in Black" (Tish Ambrose) starts off with a top-notch synth flourish. Up there with the likes of Rinse Dream and Gregory Dark, Alan's "confrontation" with the "Woman in Black" is as dark and twisted as porn can get it. Oh, don't get me wrong, the sex itself is pretty straightforward. It's that the atmosphere is so off-kilter. Lounging in black stockings, the "Woman in Black" asks if Alan is ready to renounce love. See what I mean? There's no love in pornography.
In the 1980s, power was more important than love, so Alan has no trouble whatsoever renouncing it. In return for renouncing love, Alan is allowed to penetrate the "Woman in Black" with his long suffering penis. Before he does that, however, he removes her black panties, in a gingerly fashion, of course, and throws his face in the general direction of her clitoris. If you listen carefully, you can hear a mass sigh of relief fall over the audience when Alan's penis finally enters her vagina. In my mind, waiting eighteen minutes doesn't seem that long a time to wait for a penis to be inserted into a vagina. But to the raincoat crowd, it must have seemed like an eternity.
As Alan plows into the "Woman in Black" doggy style (the blackness of her stocking's garters tear across her ashen thighs like crumpled bolts of polyester lightning with every thrust), it occurs to me that I need more Tish Ambrose in my cinematic life. Everything from her wide, expressive eyes to the birthmark on her left breast (they're nature's tattoos) was appealing. Nearing the end of his thrusting capacity, the "Women in Black" tells Alan, "Don't cum inside me!" After dispensing his future stain across her ample backside, she curtly instructs him to leave. Ending up back where he started, Alan notices a briefcase sitting on Samantha Fox's desk.
Meanwhile, Mr. Williams, the guy who sent Alan on that crazy errand in this first place, is at home with his wife Doreen (Tiffany Clark). Since this film is technically a pornographic film, Jamie Gillis and Tiffany Clark have sex, but not before exchanging some esoteric dialogue. In order to placate said esoteric dialogue, a scene where Mr. Williams watches (through a crack in the door) his wife's younger sister, Felicia (Kelly Nichols), masturbate on her bed in purple panties and white hold-up stockings. While the scene with Felicia feels superfluous, it actually sets up her character and the voyeurism of the next few scenes rather nicely.
When Mr. Williams finds out what Alan has done (the contents of the briefcase are his), he heads down to a local bar to ask his half-brother, Larry (Bobby Astyr), for help. In keeping with the film's odd tone, the bar is a sort of a cross between the Bang Bang Bar in Twin Peaks: Fire Walk With Me and the joint from Café Flesh. Dancing on a stage is, to quote Larry, "a half-wasted broad shaking her ass," named...actually, she doesn't have a name. Well, despite that, she's played by Nicole Bernard, and she continues to dance as Mr. Williams and Larry discuss the whereabouts of Alan.
Similar to the scenes where Alan goes from room to room, Larry takes Mr. Williams to a subterranean hallway that contains three red doors. Now, what lies behind these is not anyone's guess, as each door is equipped a reverse peephole. Telling Mr. Williams that he must watch what takes place behind each door before they can continue, the frustrated businessman is subjected to bathroom lesbianism (a wonderfully bruised Alexis X and Sabrina Vale); dungeon-based sadomasochism, a dominatrix in fishnet stockings (Melissa Strong) demands that a man in a leather mask lick her boots; and, believe or not, necrophilia. While the lesbianism behind door number one is a pleasant diversion, what Mr. Williams sees through the other two doors will cause him quite a bit of distress.
A true work of subversive art, Corruption, with its total and utter disregard for the needs and wants of your pathetic genitals, is a rare of example of what porn can become if put in the hands of a thoughtful director. On top of that, the acting by Jamie Gillis, Samantha Fox, Bobby Astyr, Michael Gaunt, and Vanessa del Rio (who shows up near the end of the film) is excellent across the board. I would compliment Tish Ambrose on her acting as well, but I was too busy admiring the smoothness of her backside to notice her acting. Just kidding, her lines are read with just the right amount of forcefulness.
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