Roommates

An incredible melodrama that actually works better as a drama than a sex film. This one finds the three leads, Hart as the actress looking for a break in New York, Nichols a model doing the same, and Fox as a New York native sex worker who's trying to change her life who needs the roommates to help make rent. Each puts in a career best performance, the sex is presented many times in a non-erotic way, which helps to push it over the edge when it is presented more erotically. Add in Jaime Gillis in an all-time pervo-creep role and this one stands as one of the best hardcore films I've seen.

This movie has a well-told story about real characters who grow and change, portrayed with (mostly) credible performances. Veronica Hart is a good actress by mainstream, let alone porn standards. Music is even appropriate to the action most of the time. It lacks many of the traditional porn cliches such as sex scenes that have no connection to the story, and external come shots. In short a well-made movie with explicit sex. It isn't Schindler's List but it's better than a lot of mainstream movies that had 100 times its budget.

My review was written in February 1982 after a Midtown Manhattan screening: "Roommates" is an extremely well-acted drama of three women trying to launch careers in New York City, cast and filmed with a key difference from ordinary product. Producer-director Chuck Vincent has used familiar thesps from sexpo films to enact a "straight" story, in which sex scenes are brief and do not destroy the picture's narrative. Softcore version reviewed (a similar hardcore version exists, using different camera angles) is hot enough to qualify for an X rating, but emerges as an uncensored story film with sex angles rather than a toned-down sex pic.

Three title characters are Billie (Samantha Fox), an ex-call girl working in tv commercials production, taking Joan (Veronica Hart) and Sherry (Kelly Nichols) as roommates from out of town to share her posh Manhattan apartment. Amidst humorous and frankly sentimental incidents, film concentrates on the women's mistreatment by various men in their lives.

Billie suffers from sexual harassment on the job, as her boss (Bobby Astyr) insists that she dispense sexual favors to clients or he'll fire her. Joan, dropping out of drama school to try and make it on (or off) Broadway, has a romance with her drama prof, but he drops her in favor of renewing his relationship with his wife. Sherry is from L. A. and building a modeling career, but gets beaten and abused by men she picks up.

Despite the melodramatic format, Vincent and his co- writer Rick Marx find positive elements for the heroines, such as Joan's falling in love with a sympathetic fellow actor (Jerry Butler), and even contrive a happy ending as each one embarks on a new life style, drawing upon the lessons they've learned. What makes the picture work is sock performances, particularly Samantha Fox's tough portrayal of a woman trying to "go straight" and Veronica Hart's winsome and innocent bundle of energy. Kelly Nichols is stuck in a less convincing role, that of a woman self-destructing through drugs and random men, but her glamorous beauty and a torrid sex scene (in stop-motion photography) are arresting.

In support, Jamie Gillis is truly frightening as a sickie who dominates Nichols, Gloria Leonard provides an hilarious, wise-cracking cameo as Fox's former madam, and Jerry Butler is very sympathetic as Hart's new boyfriend. Tech credits are sharp, especially Larry Revene's varied lighting to enhance each scene's mood.

While pic's lack of a Hollywood major pedigree may lead to it being dismissed as porn, "Roommates" deserves a shot at mainstream audiences.

In the annals of adult cinema, "Roommates" (1982) stands as a somewhat forgettable entry, despite director Chuck Vincent's earnest attempt to blend eroticism and narrative. While the film may hold appeal for aficionados of the genre, it fails to rise above the plethora of similar titles released during the Golden Age of Porn.

Set in New York City, "Roommates" follows the intertwining lives of three young women, each navigating the complexities of love, lust, and self-discovery. The film's premise is intriguing, offering a glimpse into the sexual awakening of its protagonists as they grapple with their desires and insecurities. However, the execution falls short, primarily due to a lackluster script and uninspired performances from its cast.

The film's three leads, played by Veronica Hart, Kelly Nichols, and Samantha Fox, struggle to convey the emotional depth needed to elevate their characters beyond mere vessels for sexual encounters. While all three actresses possess undeniable physical allure, their performances are largely one-dimensional, lacking the nuance and complexity required to engage viewers on a deeper level.

Chuck Vincent's direction, while competent, fails to elevate the material beyond its adult-oriented trappings. Scenes of explicit sexual content, while technically proficient, lack the artistry and sensuality found in the work of contemporaries such as Gerard Damiano or Radley Metzger. The film's pacing suffers as a result, with long stretches of tedious dialogue punctuated by perfunctory sex scenes that feel more obligatory than arousing.

The cinematography, courtesy of Larry Revene, is serviceable but unremarkable, with little to distinguish it from the myriad other adult films of its era. The film's soundtrack, a mix of synthesized disco and soft rock, is similarly uninspired, serving as little more than background noise to the on-screen action.

In terms of its adult content, "Roommates" offers a veritable smorgasbord of sexual acts, ranging from traditional heterosexual couplings to lesbian encounters and even a brief foray into BDSM. While this variety may appeal to viewers seeking a diverse range of erotic experiences, the film's relentless focus on carnal gratification ultimately detracts from its narrative coherence and emotional resonance.

As an artifact of its time, "Roommates" serves as a reminder of the limitations of Golden Age adult cinema, a genre that, despite its aspirations to the contrary, was often more concerned with titillation than storytelling. While the film may hold some historical interest for fans of the era, it fails to deliver a satisfying viewing experience, either as a work of erotica or as a piece of narrative cinema.

While the film's premise and cast hold promise, its execution falls short, resulting in a tepid and unmemorable viewing experience. For those seeking a more satisfying adult cinema experience, it may be best to look elsewhere.

The overpraise this glorified porno has received is staggering. Veronica Hart may had been good in other roles; here she is trying too hard. Samantha Fox is downright terrible and over-acting(if we can use that word 'acting) and obnoxious to watch. Her only believable dialogue occurs when performing her sex-scenes, in all seriousness. Kelly Nicols,ironically, gives the only pure performance with her natural delivery. Jamie Gillis is fine,as usual. Chuck Vincent evidently got his directing-knack down with future efforts,but this is a fancy wrapped package with nothing inside, except a self-fulfillment wish for Vincent.