Porn Classics: Little Girls Blue
Little Girls Blue
USA 1978 Directed by Maria Lease
Two young girls at the Townsend School for Girls, a private high school, plot to escape for the evening with their dates, shunning their younger friend Buffy because she’s still too young and “still a virgin.” Indignant, Buffy decides to prove herself by seducing her history teacher in exchange for an A+. Meanwhile, Coach Fowler fantasizes about his student Miriam.
Cast
Casey Winters, Samantha Morgan, Elaine Wells, Lori Blue, Ken Scudder, Paul Thomas, Blair Harris, Jon Martin, Nancy Hoffman Kristine Heller, Donna Ruberman
This movie and its sequel are built on the schoolgirl fetish, but what Imakes them stand out is the way they grant agency to and align our perspective with the objects of fetishization. A cult film created by unique female director Joanna Williams, studded with unique, surreal images. (Iwakutsuki's work was sometimes released under different titles during the conservative 1980s, when there was a strict crackdown on pornography.)
In a school full of female students in miniskirt uniforms with tantalizing butts protruding from their white cotton panties, there are many curious gals who are fantasizing about sex they haven't yet discovered. The male teachers, who can eat these erotic female students as much as they want, take turns teaching and fucking the students who immediately open their thighs to improve their grades. His life as a teacher, where he can try out all kinds of positions and have as much penetration and creampie as he wants, is a dream where he can use female students as sex toys.
The baby-faced porn actresses who dress in uniforms and pretend to be teenage girls and have sex with male teacher actors in a l****a mood are, of course, fine adult women at the time of movie production. There are some actresses who don't seem to be able to play teenagers with their flashy make-up, and the scene in the classroom looks like a school skit, but the result is a comedy that conveys the power of the times, with its cuteness and openness. ing. This is the most famous American work depicting loli school fantasy, but if I were to pick a representative European work, I would recommend Alpha France's ``Les petites ecolieres''.
In the opening scene, a fantasy sequence that starts with a woman swimming through the sky, and then a pan down the shaft of a penis, and then a schoolgirl slowly approaching, and then the ensuing blowjob. We don’t just get the blowjob in closeup, but we keep cutting to the schoolgirl’s eyes and her quivering lips as she observes from afar. This scene probably works on the straight ahead level of schoolgirl fantasy, but it takes the perspective of the schoolgirl, evoking not just her fantasizing, but her curiosity. The fact that we don’t even see the male performer in full likewise serves a double purpose - most straight male viewers likely don’t want to pay too much attention to the dudes in a given scene, but as well as that, the way the scene is framed suggests that the schoolgirl’s curiosity isn’t even about a specific figure so much as the sexual experience itself.
With the boarding school setting of this film and the summer camp setting of the sequel, they play in part as hardcore female-centric responses to the horndog comedies that were popular in mainstream cinemas at the time like - a****l House and Porky’s. Which is to say, that they’re upfront about dealing in adolescent fantasy and traveling in politically incorrect waters, which makes it easier to appreciate the empathy and tenderness they bring to depicting these scenarios. It helps that the heroines are played by Casey Winters, Samantha Morgan and Elaine Wells in some very likable performances. And it also helps that the sex scenes are imaginatively realized, visually stylized with black or white backgrounds and bright primary colours (a blue bouncing ball figures heavily in one fantasy sequence), with dreamy electronic music (like if Vangelis scored a porno) that only cuts out when we gear up for the climax. Even when the movie arguably missteps (one of the fantasies is framed from the perspective of the gym teacher instead of the student he desires played by Lori Blue), the movie finds a way to twist it around to reassert the agency of its heroines (even if none of this would pass muster in real life, and the twist echoes a notorious plot point in Revenge of the Nerds).
The sequel retains a lot of the qualities of the original, but is even more aggressive about dissolving the barriers between fantasy and reality, with the latter inconveniently intruding upon scenes of the former. I missed Winters and Morgan, but Wells and Blue return, the latter having a sweet relationship with a counselor she’s helping learn English, and also sporting bangs to boot. This time around the girls also sport blue berets, which make them look either like girl scouts or UN Peacekeepers. We also get Kevin James looking like he escaped from the set of Revenge of the Nerds, just to hammer the connection home.
A few additional notes:
Wells persuades her teacher to not let her fail her class. He does this by crossing out her F and writing an A. Were he bolder or more creative, he could have simply turned the F into an A.
The gym teacher asks Blue to stay back after class and has her do some written homework. This threw me off, until I saw the square root symbol (which grows extra large as the movie segues into a fantasy sequence), at which point I realized that the guy probably taught multiple subjects.
Aside from the imitation Vangelis, there’s one bit of musical scoring that sounds like an electronic version of “Anything Goes”, which plays alongside a montage of a bunch of students alternately marching and sucking cock in unison (the latter is accompanied by black backgrounds and mirrors to create the illusion of greater numbers). I do think this is one area where the sequel comes up short, as the scoring is a bit more conventional. I did appreciate the one sex scene where oldies played on the radio diegetically. Both movies are astute about the importance of sound in shaping the intimate atmosphere of these scenes.
USA 1978 Directed by Maria Lease
Two young girls at the Townsend School for Girls, a private high school, plot to escape for the evening with their dates, shunning their younger friend Buffy because she’s still too young and “still a virgin.” Indignant, Buffy decides to prove herself by seducing her history teacher in exchange for an A+. Meanwhile, Coach Fowler fantasizes about his student Miriam.
Cast
Casey Winters, Samantha Morgan, Elaine Wells, Lori Blue, Ken Scudder, Paul Thomas, Blair Harris, Jon Martin, Nancy Hoffman Kristine Heller, Donna Ruberman
This movie and its sequel are built on the schoolgirl fetish, but what Imakes them stand out is the way they grant agency to and align our perspective with the objects of fetishization. A cult film created by unique female director Joanna Williams, studded with unique, surreal images. (Iwakutsuki's work was sometimes released under different titles during the conservative 1980s, when there was a strict crackdown on pornography.)
In a school full of female students in miniskirt uniforms with tantalizing butts protruding from their white cotton panties, there are many curious gals who are fantasizing about sex they haven't yet discovered. The male teachers, who can eat these erotic female students as much as they want, take turns teaching and fucking the students who immediately open their thighs to improve their grades. His life as a teacher, where he can try out all kinds of positions and have as much penetration and creampie as he wants, is a dream where he can use female students as sex toys.
The baby-faced porn actresses who dress in uniforms and pretend to be teenage girls and have sex with male teacher actors in a l****a mood are, of course, fine adult women at the time of movie production. There are some actresses who don't seem to be able to play teenagers with their flashy make-up, and the scene in the classroom looks like a school skit, but the result is a comedy that conveys the power of the times, with its cuteness and openness. ing. This is the most famous American work depicting loli school fantasy, but if I were to pick a representative European work, I would recommend Alpha France's ``Les petites ecolieres''.
In the opening scene, a fantasy sequence that starts with a woman swimming through the sky, and then a pan down the shaft of a penis, and then a schoolgirl slowly approaching, and then the ensuing blowjob. We don’t just get the blowjob in closeup, but we keep cutting to the schoolgirl’s eyes and her quivering lips as she observes from afar. This scene probably works on the straight ahead level of schoolgirl fantasy, but it takes the perspective of the schoolgirl, evoking not just her fantasizing, but her curiosity. The fact that we don’t even see the male performer in full likewise serves a double purpose - most straight male viewers likely don’t want to pay too much attention to the dudes in a given scene, but as well as that, the way the scene is framed suggests that the schoolgirl’s curiosity isn’t even about a specific figure so much as the sexual experience itself.
With the boarding school setting of this film and the summer camp setting of the sequel, they play in part as hardcore female-centric responses to the horndog comedies that were popular in mainstream cinemas at the time like - a****l House and Porky’s. Which is to say, that they’re upfront about dealing in adolescent fantasy and traveling in politically incorrect waters, which makes it easier to appreciate the empathy and tenderness they bring to depicting these scenarios. It helps that the heroines are played by Casey Winters, Samantha Morgan and Elaine Wells in some very likable performances. And it also helps that the sex scenes are imaginatively realized, visually stylized with black or white backgrounds and bright primary colours (a blue bouncing ball figures heavily in one fantasy sequence), with dreamy electronic music (like if Vangelis scored a porno) that only cuts out when we gear up for the climax. Even when the movie arguably missteps (one of the fantasies is framed from the perspective of the gym teacher instead of the student he desires played by Lori Blue), the movie finds a way to twist it around to reassert the agency of its heroines (even if none of this would pass muster in real life, and the twist echoes a notorious plot point in Revenge of the Nerds).
The sequel retains a lot of the qualities of the original, but is even more aggressive about dissolving the barriers between fantasy and reality, with the latter inconveniently intruding upon scenes of the former. I missed Winters and Morgan, but Wells and Blue return, the latter having a sweet relationship with a counselor she’s helping learn English, and also sporting bangs to boot. This time around the girls also sport blue berets, which make them look either like girl scouts or UN Peacekeepers. We also get Kevin James looking like he escaped from the set of Revenge of the Nerds, just to hammer the connection home.
A few additional notes:
Wells persuades her teacher to not let her fail her class. He does this by crossing out her F and writing an A. Were he bolder or more creative, he could have simply turned the F into an A.
The gym teacher asks Blue to stay back after class and has her do some written homework. This threw me off, until I saw the square root symbol (which grows extra large as the movie segues into a fantasy sequence), at which point I realized that the guy probably taught multiple subjects.
Aside from the imitation Vangelis, there’s one bit of musical scoring that sounds like an electronic version of “Anything Goes”, which plays alongside a montage of a bunch of students alternately marching and sucking cock in unison (the latter is accompanied by black backgrounds and mirrors to create the illusion of greater numbers). I do think this is one area where the sequel comes up short, as the scoring is a bit more conventional. I did appreciate the one sex scene where oldies played on the radio diegetically. Both movies are astute about the importance of sound in shaping the intimate atmosphere of these scenes.
1 年 前
