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Julie Ashton is clearly one of today's top porn stars. She communicates a friendly, soft innocence which gives her a girl-next-door appeal. We are then set up for a series of delightful surprises as we discover the range of her sexual talents especially in the girl-girl scene with Amber Lynn and the double penetration number. Julie is beautifully showcased in three of the numbers and appears in the background of the other four as the narrator that holds the scenes together. All seven sequences are brilliant. They are lavishly photographed with unique and interesting camera angles. Effective use is made of slow motion, fade-ins and fade-outs, and other cinematic techniques usually reserved for the finest in Hollywood mainstream productions. The desert setting, similar to that used in parts of Ninn's earlier films, Sex I and Sex II, provides an interesting backdrop for sensuality. While some of the indoor scenes appear to have been shot on sound stage, those that were shot outdoors added an unusual beauty to the sexuality. Ninn makes effective use of a dry lakebed for some of these scenes. The great expanse of the outdoors allows for the placement of cameras at longer ranges with telephoto lenses providing an almost surreal quality. A good example of this is the sequence with Asia Carrera in a bridal gown having sex with her groom on a grand piano in the middle of the desert lakebed while Julie Ashton masturbates in the background. Ninn's musical score is well suited to each of his seven moments of visual sensual delight. The music enhances and blends with the visuals without overwhelming them. The story line, although brief, has an enchanting, lyrical quality to it and I found myself rewinding the tape to listen to parts of the narrative again. I could go on and on about the originality of each of the seven sequences but what appears to be happening is that we are returning to the days of magnificently produced "loops" as a sort of an adult version of the type of production numbers we see on MTV. This technique is tremendously successful and high quality productions like Fade to Blue cannot help but appeal to a female audience as well as to men. These techniques provide the kind of beautiful imagery that is much more likely to be erotic to women than the standard porn fare. I tested this theory while visiting an adult resort and my suspicions were immediately confirmed when the establishment let me know how much positive feedback they had received about Fade To Blue. In any case, VCA, Michael Ninn and Jane Hamilton are to be again applauded for their originality, sensuality, and commitment to quality adult filmmaking. To purchase Fade To Blue please follow this link.
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