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Shot on video with the contemporary elegance of the adult production company New Sensations, and with that unmistakable reference to the overexploited shades of Grey, "The Submission of Emma Marx" takes on another pseudo-romantic version based on female exploitation and her "virginal" vulnerability to the dominant, heteronormative man. In this case, Emma Marx (modern porn icon Penny Pax) is a young woman who, despite being objectively attractive and self-confident, finds her romantic relationships monotonous. That is, until a chance encounter with a mysterious man she must interview for work, a Mr. Frederick (Richie Calhoun), seduces Emma and introduces her to a new and erotic world of self-discovery. Through a contractual BDSM relationship, Emma explores the limits of surrender and freedom, both physical and emotional. The plot delves into how this lifestyle challenges her and leads her to question her own boundaries, exploring these dynamics of control and submission.

The film aims to explore the complexity of sexual freedom and obedience, as well as the challenges that arise when personal boundaries are questioned. The presence of other characters, such as his sister Nadia (Riley Reid) and his brother-in-law Ray (Van Wylde), complements a narrative development that, while stylish and well-constructed, barely offers a critical perspective; on the contrary, it is a toxic revelry of the infatuation most attributed to puberty.

Admittedly, we don't expect a philosophical analysis of the interactions between the characters here, as this could be considered a typical pornographic film. However, the inconsequential nature of the narrative and the final, poor cinematic value only remind us how far behind the classic talents of the Golden Age of adult cinema have become. And this is a compelling reason to lament.

Tanya Towns (Colleen Brennan, who seems to be the only compelling element in the entire film, and whose role is woefully underutilized) plays the neglected wife of Gregory Towns (an overacting Harry Reems, who delivers far too much slapstick and absurd dialogue). Both members of this seemingly failed marriage struggle with their sexuality separately. He with the "attractive" maids, while Jerry Butler appears as the Tanya's personal trainer, and she jumps at the chance to share him with Mindy Rae (in a very bland and unimpressive appearance). Overall, the performances are really weak, forced, and lacking in charisma.

The plot is boring and suffers from a lack of narrative rhythm, generating endless filler scenes to the detriment of a script that could have been better crafted, as the great Gary Graver already had done with projects like "V, The Hot One" (1978), "Co-Ed Fever" (1980), "Amanda By Night" (1981), or one of his masterpieces, "Indecent Exposure" from 1982. Therefore, the creative collapse and exhaustion of this director at the end of the Golden Age of adult cinema is all too evident.

In reality, what Mr. Towns is trying to do in "Beverly Hills Exposed" is to strike a sweet deal with one of his wealthiest clients, a certain Jonathon Stinson (Billy Dee), who comes to visit Gregory's mansion to be sexually entertained, even by the host's own daughter, a Bunny Bleu who also fails to generate the morbidity that her genre predecessors (Annette Haven, Samantha Fox, Veronica Hart, Arcadia Lake, etc.) displayed.

In any case, we mustn't forget that this is a film by Gary Graver (AKA Robert McCallum), and his cinematic talent is beyond question, assuming that even a minor film by this filmmaker is far superior to most of the works released during his golden age. Cinephiles will perhaps notice many nods to classic cinema throughout his work, especially to the films of Orson Welles. Graver was Welles's go-to cinematographer during the final stages of his independent filmmaking career. That's a lot to say.

The film fuses crime and eroticism with a plot that unfolds in the sordid underworld of a Parisian modeling agency, which actually serves as a front for illicit activities, including prostitution. The narrative follows the investigation into a series of crimes that take place within that environment. It delves into the interactions between the characters who inhabit this dark environment, revealing their secrets and motivations. Through a series of explicit encounters and situations (which do not include fluids or ejaculations), the film explores themes of exploitation, power, and ambiguous morals, interweaving the intrigue inherent to the detective genre with significant erotic content, focusing on the atmosphere of depravity and the power dynamics within this clandestine environment.

Both installments of "La Planque" (volumes 1 and 2) are works that fit perfectly with José Bénazéraf's signature style of the 1970s, combining police procedural with adult erotica. The film does not adhere to the conventions of a traditional crime thriller, but instead leans toward a raw exploration of illegality. The direction is direct and provocative, without seeking subtlety. The pace is variable, alternating sequences focused on the exhibition of explicit scenes with segments that attempt to develop a plot.