With the likes of Ron Sullivan, Gerard Damiano and Buck Adams passing away, the year 2008 has turned out to be a dark one for dirty movie directorial talent, each of them having hit their stride during a different decade. Damiano's achievements peaked in the '70s with DEVIL IN MISS JONES and STORY OF JOANNA ; Adams illuminated the lackluster '90s with his naughty noir sagas LETHAL PASSION and NO MOTIVE. Though he consistently toiled throughout these decades as well, and indeed started out in '60s sexploitation, Sullivan's star shone most brightly throughout the '80s when he seemingly cranked out one instant classic right after another. Therefore, facing self-inflicted competition from SEXCAPADES, NIGHT HUNGER and TABOO American STYLE to name but a few, it should come as no small praise that OUTLAW LADIES has been singled out more frequently by "those in the know" as his best overall accomplishment. Deceptively simple in set-up, similar to other vignette-structured Sullivan sagas like BABYLON PINK and October SILK, this one reveals subtle touches in its story-telling and a devoted deviant's single-mindedness in erotic execution that elevate the results to adult's upper echelons.
Premise has a group of respected socialites resorting to mind-bogglingly intricate strategies to satiate the carnal drive their classes frown upon. Contrary to more conventional vignette collections, these characters are all inter-related. Abbey Winston (Juliet Anderson) takes advantage of the absence of over-worked businessman husband Harlan (Bobby Astyr) take note of her repeated mantra querying whether he will be home late that night to indulge in some afternoon delight disguised as coffee klatsch with best friend Barbara Durning (Jody Maxwell) who has secured the services of college stud Ron Hudd, of course having made sure that "he goes to the right school" ! Harlan finds much-needed release with Southern Belle fashion model Cassie Lacey (Marlene Willoughby), who moonlights as a hooker so she can afford a maid, in what is arguably the film's funniest segment. Barbara's spouse Victor (Robert Kerman a/k/a "R. Bolla") runs a law firm, lusting after every lady in his employment, whether it be hot shot legal eagle Deidre (Veronica Hart) who spurns him or his more receptive receptionist Felicia, indelibly portrayed by an uncharacteristically reigned-in Merle Michaels. Winning a case for the public defense, the equally married Deidre celebrates by inviting over portrait artist to the elite Eddie (John Leslie) to pop her rectal cherry in one of the most enticing introductions to rear end lovin' ever filmed. Though she lent a hand to helpfully hold an anally introduced vibrator to Abbey, Barbara really gets her kicks from slumming it with fellow social butterfly Evelyn Rushmore (Samantha Fox), cruising dive bars for blue collar bits o' rough like Joey Silvera who gives them a thorough seeing to in his dirty apartment. Fetishistically sniffing his unwashed sheets, the elegantly attired ladies implore him not to wash up before enthusiastically chowing down !
Drawing career best performances out of several actresses too often taken for granted like Anderson, Maxwell and Willoughby, Sullivan has furnished them with a superior screenplay laced with minute behavioral observations that only begin to register upon multiple viewings. Ever the sparkling comedienne (longtime admirer Shaun Costello likens her to Lily Tomlin), Marlene's broad turn with outrageous accent to match gets the biggest laughs initially, playing beautifully off the late great Bobby Astyr (who's equally at home in this register), almost inconspicuously revealing the human core beneath the caricature. I love that little triumphant smile she gives her own reflected image as she urges herself to "do it, bitch", her stunning cheekbones partially obscured be a pair of defiantly scarlet panties. With a cast that virtually rehabilitates the oft-maligned appeal of older women, it's to the credit of master cinematographer Larry Revene that he went all out with lighting and camera placement to make them look both glamorous and desirable. It's safe to say that most of them have never looked better elsewhere. Sophisticated editing by veteran Ron Wertheim, signing on as "Arlo Schiffin", keeps the narrative crystal-clear by keeping the various little stories up in the air, merrily spinning like a juggler's multi-colored orbs. Sullivan may have made movies that succeed better in certain aspects but almost certainly none that fires on all cylinders like this beauty. Shining every bit as brightly nearly three full decades since they were originally exposed to audience scrutiny, these OUTLAW LADIES put the gold in porn's Golden Age.
