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Released: Apr 01st, 1997
Running Time: 95
Director: Andrew Blake
Company: Studio A Entertainment
Cast: Herve Pierre-Gustave, Tanya La Riviere, Coralie, Bruno Aissix, Lea Martini, Anita Blond, David Perry, Eva Falk
Critical Rating: Not Yet Rated
With his distinctive style, a synthesis of Vogue Magazine, fetish photog Helmut Newton and high-end smut, Andrew Blake has for much of the past decade made some of the most glamorous porn flicks in this or any other universe.
His latest, Paris Chic, set in the wealthy, decadent world of French fashion, continues that eye-boggling tradition and is perhaps his most glamorous production to date.
Every female cast member is drop-dead gorgeous, sporting the tall, lean, supermodel bodies that make other women burn with envy. Throughout the film they're garbed in pricey, tres chic S&M couture. And when they get down, which is like all the time, they do so in their palatial estates and Rolls Royces. We ain't talkin' trailer trash here, folks.
Blake's production values, meanwhile, are (as usual) luxurious, equal to the task of capturing this privileged, exorbitant world on film. Pre-noms are in order for best film, direction, cinematography and editing, as well as for Raoul Valve's luscious score.
Paris Chic relates the sexual education of Italian model Lea Martini, who moves to Paris and becomes the lesbian lover, then the slave, of erotic film-maker Coralie. Following a near-constant series of lust-filled lessons, her schooling takes a distinctly different turn as the submissive wakens the dominant within.
Blake eschews traditional scene structure in favor of more daring, dream-like and amorphous configurations. He establishes the erotic tone right from the outset as, over the opening credits, a breathtakingly bewitching brunette clad only in black rubber stockings and opera gloves, partakes of the fruits of her own voluptuous body. Yummy!
Immediately afterward, we meet our heroine Martini, an awe-inspiring blonde who obviously is the apple of Blake's cinematic eye. She winds up in every one of the film's remaining deluge of sex scenes.
In one of the film's more memorable images, Martini diddles herself while a magnifying glass, placed stragetically between her legs, blows her pussy up to larger-than-life proportions. In the blink of an eye, this scene transforms into the first of a long string of S&M-themed sequences. One has our girl, clad in scorching latex garb with her tits sporting nipple clamps, stick the handle of a bullwhip up her cunt, then trade it in for a vibrator. In another highly imaginative sequence, Coralie uses Martini as a chair from which to watch a B&D lesbo couple whose steamy antics are projected onto a portable screen held by a fifth babe.
Soon thereafter, Coralie breaks Martini's heart by lustily fucking some stud right in front of her, after which our heroine dumps her mistress and realizes the dom goddess in herself.
Appropriating her own slave, the luscious, aptly-named Anita Blond, Martini attaches a nasty-looking strap-on to the sub's lovely kisser and has her fuck Martini's pussy with it. Having finally found true happiness in dominance, Martini, with her faithful, dog-collared chattel in tow, drives off into the Parisian sunset.
Chic's brand of sophisticated eroticism delivers among the sweetest adult eye candy ever sampled, and makes for great couples' fare.