Blonde in Black Silk (1979) User Reviews

Poor Dialogue, steamy sex

[metalrox_2000 · 7/10 · 25 April 2009]

I seem to enjoy the vintage adult films, like this one. Mainly because the girls in the films seem to have their own flair. Many xxx starlets now are interchangeable, and you need a score card to tell them apart at times.

The plot, not that it matters much, is about a successful and seductive business woman named the Countessa, played Serena, who purchases Metropolitan magazine, and then sends the magazine editor to investigate her own operation. This leads to some of the most erotic action the film, as Serena proves to be a hands on boss.

One of the best scenes is a concerns The Countessa's lesbian sex with a young cheerleader played by Acadia. The lesbian action is viewed through a window by the cheerleader's coach, played by adult film veteran Eric Edwards. He eventually decides he wants a piece of the Countessa himself.

One should really find this film on DVD or VHS. This is how adult films really should be done, with erotic action between actors and actresses that really seem into each other.

Sizzling Serena's Career Performance

[Nodriesrespect · 8/10 · 22 July 2012]

Easily the most conventionally constructed carnal caper from Bill Milling's artistically ambitious "Philip T. Drexler Jr." period still scores as a splendid showcase for the sexual and thespian talents of superstar Serena. While well-documented personal predilections towards submission and humiliation assured her prominence on the specialized borderline freak show circuit, the intimate industry's more mainstream contingent seemed hellbent on keeping her a B girl on their A list. Ultimately, the joke was on those of little faith as Serena could make a little go a long way, stealing scenes with a mischievous glance for an electrifying entrée to the smörgåsbord of sensuality fans quickly caught on she had in store.

Bluenoses begrudgingly acknowledged her heat but belittled her dramatic prowess. It was up to adult's genuine class acts to give the girl a break and cast her in proper parts to silence the naysayers. Forever toiling in the trenches, Carter Stevens confided her with the pivotal girl Friday character completing the triumvirate with Eric Edwards and Bob Bolla in his PLEASURE PALACE, a gamble that paid off in spades. At the spectrum's other end, mogul Ted Paramore a/k/a "Harold Lime" entrusted her to make good on the eternal good girl/bad girl dichotomy by casting her as contrasting twins in his and Gary Graver's ECSTASY GIRLS.

BLONDE IN BLACK SILK's captivating Contessa provides the actress with the rare opportunity to have it both ways, bringing a larger than life character to life with knowing humor that shines through slightly suggestive line readings and still hump her way through an all star cast in five separate sex scenes with all the fervor fans have come to expect. As the vaguely aristocratic doyenne of a Paris fashion empire now seeking to enter the stateside market, she's subject to investigation by Metropolitan Magazine's roving reporter Heather Shane (Merle Michaels) as ordered by the publication's as of yet mysterious new owner. No prizes for guessing this is a publicity ploy by the Contessa to gain foothold in another continent by exposing her supposedly scandalous past. The office scenes possess a breezy humor familiar from Milling's happy go lucky "Dexter Eagle" endeavors, thanks to Samantha Fox's spirited performance as an air-brained temp constantly confusing befuddled editor David Pierce, marking a 180 degree turn from their sleazy master and servant relationship in Roger Watkins's harrowing HER NAME WAS LISA.

As the Contessa basically spells out her plans before opening credits to an otherwise occupied Parisian paramour, played by hunky Jerome Deeds in his only appearance apart from the male lead in Bob Chinn's SADIE, I haven't spoiled much of a secret just there. Unaware that she's being manipulated, Heather soon learns that her subject has established her entire empire on sex. Shock horror ! As a lowly American girl, penniless but pining for a new frock, she caught on when uptight boutique owner Herschel Savage suggests she pay in kind for the dress she has swiped. Patty Boyd ("Susan Bell" for the occasion) makes a welcome appearance as a Salvation Army officer assembling funds but winding up in a torrid threesome with Hersch and Serena instead. Inventing a phony pedigree, the "Contessa" subsequently clawed her way to the top of the fashion industry by supplying sexual favors from her ever expanding stable of strumpets to those in power.

Once again pressed into oddball duty, Jake Teague adds another caricature (this time, a bowler-ed British tycoon) to an already impressive roster, timing the oral administrations of ravishing Kasey Rodgers to correspond with the duration of their (actual, adding production value) helicopter flight ! Seldom seen Erica Richardson (the Dutch farm girl from Chuck Vincent's THAT LUCKY STIFF) pays a hefty garage bill the old fashioned way by getting down and messy with mechanics Bobby Astyr and one shot Eddie Mitchel. Arcadia Lake twirls a tentative baton prior to twisting her ankle, confining her to the school bus, leading to her recruitment by the Contessa with a sweltering Sapphic seduction spied upon by an increasingly aroused Eric Edwards as her teacher, corn-holing his contemporary lady love. Tension release from keeping up faux appearances comes in the form of a biker trio (ubiquitous Ron Jeremy plus floppy-fringed Bob Presley from Jim Buckley's GOOD GIRLS OF GODIVA HIGH and Bobbie Burton from Milling's A SCENT OF HEATHER) gingerly violating the Contessa in an orchestrated rape scenario amid the rubble of big city ruins. Merle gets her moment to shine with George Payne as Serena's Soviet assistant in a romantic encounter while the Contessa fills the clueless Pierce in as to what he has unwittingly allowed to transpire.

Although the film primarily functions as a framework for a slew of creatively concocted carnal situations, it should not go amiss that Serena's Contessa character remains represented throughout as a successful self-made career woman. Even though she's not above the employment of subterfuge and the exploitation of other members of her gender, both of which suggested as being enforced by predominantly patriarchal society, she's still riding the wave's crest by fade-out rather than having to pay the price for her lofty ambitions to assure an antiquated status quo. In light of her public persona, Serena's unlikely empowerment packs perhaps even more of a punch, precisely because it's so unexpected, elevating a deceptively run of the mill seeming skin flick to a whole new level of perception and interpretation.