Great Sexpectations

Henri Pachard's "Great Sexpectations" is a classic adult film from 1984 that has left its mark on the industry. The film is an adaptation of Charles Dickens' "Great Expectations," but with a tantalizing twist that caters to adult audiences.

The film's narrative structure is commendable, weaving a story that is both engaging and sexually charged. Pachard's direction is evident in the way he balances the plot with the adult content, ensuring neither overshadows the other. The cinematography, while not groundbreaking, is decent for its time, capturing the raw essence of the '80s adult film industry.

The performances are noteworthy, particularly the threesome scene involving Joanna Storm, Renee Summers, and Eric Edwards. This scene is a standout, not just for its explicitness, but for the palpable chemistry between the actors. Storm and Summers deliver a sensual performance that is both captivating and arousing, while Edwards brings a level of intensity that elevates the scene. The trio's encounter is a testament to the film's commitment to delivering gratuitous adult content that satisfies viewer expectations.

However, "Great Sexpectations" is not without its flaws. The pacing can be uneven at times, and some scenes feel gratuitous, added solely for shock value rather than contributing to the overall narrative. Additionally, the dialogue can be cheesy and lacks the sophistication found in more modern adult films.

Despite these shortcomings, "Great Sexpectations" is a worthy watch for those interested in the evolution of adult cinema. It offers a compelling narrative, memorable performances, and adult content that is sure to titillate. It's a testament to Pachard's directorial skills that the film remains engaging and sexually charged, even by today's standards.

In conclusion, "Great Sexpectations" is a solid adult film that delivers on its promise of explicit content while also providing a narrative that keeps viewers engaged. It's a must-watch for fans of classic adult cinema and those interested in the genre's history.

Eric Edwards (Loose Times at Ridley High, Love Bites) plays Harry Crocker, a famous porn director. The movie chronicles his misadventures, trials and tribulations in making hew new movie featuring John Lelie who plays himself. There's less of a story here than I normally look for in a porn (yes there ARE still people out there who crave a plot with their steamy sex, believe it or not) The actors just all the be going through the motions in this one, which is surprising given the talent involved. How this picked up an award in 1984, I haven't a clue.

My Grade: D+

"Great Sexpectations" is a remnant of the age of story-driven adult films that were actually shot on film. The story is complex and leads to lots of couplings (and triplings), but the delivery is hilarious, either intentionally or unintentionally, revealing a lot of foibles of sexuality not usually addressed in modern porn.

Many of the funniest lines are delivered in so deadpan a manner, its easy to imagine industry insiders discussing the quirks of their business -- making some parts of this film seem to be the adult equivalent of "Seinfeld" -- a porn about "nothing". (to paraphrase: "Let me tell you how we do it in films. When you feel yourself starting to... pull it out and spray it all over her... _That's_ how we do it in films.").. Even without the various interludes, the story progresses and amuses.

Crocker, a legendary porn director must deal with his own wistful connections to his former wife, making him unwilling to star in his own films as he used to. He must deal with an industry diva who wants to undercut his creative control, young up-and-comers who want to tag along to become the next big thing, including one young sweetheart who is only going to perform anal because her mother told her to. On top of all this, Crocker must deal with an unconventional producer who offers his wife for auditions, and demands that Crocker capitulate to Marilyn and to to Frances' mother. In the end, it all comes together, so to speak.

Ron Sullivan returns with the further adventures of his alter ego Harry Crocker, introduced in the previous year's exceptional SEXCAPADES, and delivers a sequel that is at least every bit as good. The main difference is that the satire of the adult industry and the people in it has softened and grown more compassionate, something that actually makes me prefer this second installment to the original.

Still played by Eric Edwards, Harry's back on the singles circuit, making all sorts of promises to wannabe porno starlets like Joanna Storm (reprising her "Yvonne Rose" character from SEXCAPADES) and Rene Summers (who was soon to become Mrs. Edwards in real life) just so he won't have to sleep alone at night. Setting up a new movie for fledgling producer Louis Charger (a terrific turn from Robert Bolla), Harry encounters a whole new set of problems in dealing with his imposed new star, pretty 18-year old Frances (ravishing redhead Tanya Lawson making a credible stab at innocence), being pimped around town by her ambitious mother Mrs. Exeter, a show-stopping performance by N.Y. actress Chelsea Blake. To further complicate matters, he also falls deeply in love with his dyed in the wool leading lady Marilyn Camp (wonderfully portrayed by superstar Kelly Nichols) and henceforth no longer wants to direct her in any sex scenes. How on earth is Harry ever going to finish his movie on time and within budget ?

Keeping the recipe of humor and heart (with the balance this time clearly tipping in favor of the latter), Sullivan takes viewers on another wild 'n' crazy journey through the world of porn, a subject he knows like few others. The observations ring true, from the clueless producer who has his wife (the incomparable Honey Wilder, a first rate comedienne as TABOO II and NIGHT MAGIC can attest) audition male talent – in this case Jerry (RAW TALENT) Butler in one of the film's comic highlights – to the ebullient stage mother and/or suitcase pimp types.

Sex comes in all shapes and sizes, most of it light and fun with Nichols' on-set scene with John Leslie a prime example, though there's room for darker motivations as well when that same actress deals with her director's declarations of love by instigating a cruel power game that finds the hapless (if perhaps deserving) Mrs. Exeter caught in the middle. I'll let you discover that scene for yourself, but I think it's some of the strongest stuff – both sexually and dramatically – that Sullivan has ever come up with. The ending, like just about everything else in this flick, is absolute perfection and a fitting epitaph to the Harry Crocker saga.