Sexual Heights (1980)

Sexual Heights (1980)




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Sexual Heights (1980)

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Genres - Adult  |  





Run Time - 91 min.  |  






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Vinegar Syndrome's latest Peekarama release is a pair of Carlos Tobalina's
collaborations with Jamie Gillis and John Holmes: SEXUAL HEIGHTS and UNDULATIONS.
Four divorced guys – doctor Ron (Jamie Gillis, WINTER HEAT),
engineer Art (Michael Morrison, TABOO), lawyer Jim (Jesse Adams, ORIENTAL HAWAII),
and architect Joe (Herschel Savage, PRETTY PEACHES 2) – live together
in a suburban bachelor pad and pass the time with some rather chaste joint viewing
of pornographic videos. Joe recognizes one of the actresses as Laurie (Tawny
Pearl), the babysitter who teased him to distraction. His wife divorced him
when he tried to act on his desires for Laurie, so he blames her for his bachelorhood.
Ron comes up with an idea to "give it" to the tease, and calls her
over to babysit a toy doll for dad (Art) and mom (Jim in drag) while Joe dresses
up as the maid and Ron as the chauffeur.
They
lace the champagne, food, and cigarettes with THC – the active ingredient
in marijuana – and program the television to play back erotic videos while
they watch Laurie through a two-way mirror. Once she's drugged and horny enough,
Ron, Art, and Jim return home in costume to have their way with her ("What!
Your wife has a cock too!"). Laurie then calls her roommates – Pat
(Lysa Thatcher, CO-ED FEVER), Amy (Holly McCall, PRETTY PEACHES), and Amy's
"little sister" Lolita (Lolita Grant) – to join them; but will
Laurie's discovery of Joe's identity kill the party or will she be more willing
this time around.
The plot of SEXUAL HEIGHTS – four guys get "revenge"
on a tease – would have any politically-correct-minded viewer or anti-porn
variety of feminist more than a little appalling, and it would be if its execution
were not so cock-eyed (Ron not only buys costumes but also procures a Rolls
Royce for the subterfuge, Savage in drag huskily sings "Hush, Little Baby",
and everyone falls for the disguises). The scene in which Joe makes his move
on Laurie is played like a rape scene with the girl entirely unwilling, and
the scene in which Ron deflowers Lolita threatens to take things into similar
territory.
Serena
(DRACULA SUCKS) appears in one of the guys' videos in a lesbian scene with Jennifer
Duran (UNDULATIONS) – who appears in another video doing a solo –
while top-billed John Holmes has a pre-credits scene with Kitty Shayne (THREE
RIPENING CHERRIES), another sex scene with Mai Lin (MAI LIN VS SERRENA) as his
coke dealer, and is tied into the main story by a short dialogue scene with
Gillis in which he explains his plan but suggests that Holmes' member would
scare the girl off. John Seeman (BABY ROSEMARY) also appears in one of the videos.
As usual, the film looks technically slick, Tobalina condescends to kaleidoscope
opticals on some of the sex scenes to vary the coverage, and the title card
makes it look like the film is supposed to be a 3D production. It's an interesting
turn for Gillis and Savage, and makes a nice change from Tobalina's lazier orgy
pics. Gillis and Michael Morrison (under the screen name Mort Ingleby) are also
credited as assistant directors.
The titular UNDULATIONS is a cable television show hosted by Mai Lin
(as herself) and Georgia Drugg (aka THE OTHER SIDE OF JULIE's Suzanne French,
a woman with the most flat delivery and unnervingly blank stare). Tonight, their
guests are John Holmes and Jamie Gillis (as themselves) and International Male
Watchers' Society president Maggie Miller (Kitty Shayne, again). Amidst discussion
of Holmes' and Gillis' approaches to adult film work – Holmes says they
are "sexual athletes" rather than celebrities – are a series
of vignettes. A clip from a Gay Pride parade leads to Georgia countering "but
we women have a more legitimate cause" which leads to a lesbian scene with
her and Marilyn Monroe-lookalike (Brooke West, AMANDA BY NIGHT). Apparently,
their cause is horniness, because they soon welcome Gillis into bed with them.

Georgia
then muses on men taking advantage of women seeking employment and what would
happen if the shoe were on the other foot: executive Juliet Anderson (PURELY
PHYSICAL) propositions applicant Billy Dee (THE SEDUCTRESS) and he's just fine
with that. Likewise, a German-accented female shopkeeper proposes an alternate
form of payment when Eric Stein (TROPIC OF DESIRE) cannot afford a painting.
A discussion of male prostitution – which Holmes suggests is every woman's
fantasy – leads to an anecdote from Maggie about a pregnant friend who
arranges for her best friend to give her husband (Jon Martin, HOT LUNCH) some
much-needed relief. After Holmes offers the other guests and hostesses some
cocaine – Gillis abstains – they decide to give the audience a live
show with Georgia working Holmes and Gillis taking on Mai Lin and Maggie.
UNDULATIONS pretty much strings together a handful of vignettes that
Tobalina probably shot for other features or just on-the-fly on one of the venues
that would ultimately kill theatrical porn and softcore releases. It is difficult
to tell what he thinks of his viewers who are depicted here as a lip-biting,
bug-eyed blonde woman and a cross-eyed shirtless guy (whose weird eye rolling
movements are further emphasized by Tobalina creating a split-screen optical
so that both of his eyes can move independently of one another). Given his own
habit, the scene with Holmes doing cocaine may be more revealing about his personality
than his faux-intellectual responses to the panel questions with throwaway comments
about how women on cocaine start out "so delicately, and then in three
months" (a pig-like sound), or how some women "won't even wash their
hair it they know you have coke." It is actually surprising that a Tobalina
film about erotic television is free of any appearance of the director himself
stepping up on the soapbox to rattle on about censorship and sexual freedom.
Both
films are restored in 2K from the original 35mm camera negatives, and the progressive,
anamorphic 1.78:1 widescreen (not 1.85:1 as listed on the back cover) presentations
are crisp and colorful with only minor edge enhancement (possibly from the downscaling
to SD rather than an attempt to give a bit more definition to the seventies
softness). Shots with opticals look extremely coarse, but clean up at the shot
changes. A blue scratch in some shots in both films seems to be an in-camera
issue since it is not evident in cutaways (since they are on one of the videos
in SEXUAL HEIGHTS and one of the vignettes in UNDULATIONS, these were presumably
shot around the same time). The end credits are inaccurate with regard to the
cast since they are the same overlay from SEXUAL HEIGHTS but colored pink. The
Dolby Digital 1.0 mono tracks are a little hissy, but that presumably has more
to do with the original budget recording rather than the preservation given
the state of the picture elements. Lengthy trailers for the two films (5:09
and 4:22, respectively) are the sole extras. (Eric
Cotenas)



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