French porn entered the video age, not with the introduction of the consumer quality VCR but rather the appearance of euphemistically labeled "video clubs", projecting from tape sources instead of 35mm film, from the late '70s onwards. Producers soon caught on that features could be far more cheaply and quickly made directly onto this budding new medium, loss of image and sound quality notwithstanding, neither of which would be improved when screened from this primitive projection system. Current industry giant Marc Dorcel proved himself a pioneer in the shot on video field with titles like LES MAUVAISES RENCONTRES and JOLIES PETITES GARCES made as early as 1980. Taking note of his competitor's profitability, Max Alestchenkoff head of rival tape distributor Colmax (an amalgam of his name and that of his wife Colette) similarly took the plunge. Rather than direct himself, as the economically minded Dorcel had done, he enlisted the aid of Jean-Luc Brunet who as "Bruce J. Lean" (an anagram of his own name) had already made a few interesting films like UNE PHOTOGRAPHE TRES SPECIALE with the incomparable "Helen Shirley" a/k/a Nicole Segaud and DETOURNEMENT DES MINEURS, a pleasingly warped star vehicle for willowy blond "Dom Pat" a/k/a Dominique Saint Claire. To spice things up a bit, or render them a little more complicated if you will, Brunet had just established himself as in house video director over at Dorcel's, employing the pseudonym "J. Helbie", a transcription of his initials in their French pronunciation.
His maiden voyage for Colmax as well as the first video they produced rather than just distributed, 1983's LE FRUIT DEFENDU a/k/a THE SEDUCTION OF TESSA, proved a huge success. So much so, that Alestchenkoff raised the stakes considerably for its follow-up, allowing Brunet to shoot on film still a more prestigious medium to maximize (no pun intended !) its potential by playing the porno palaces of Paris as their twilight approached. Who knows what went wrong. Perhaps the still only modestly experienced filmmaker felt overwhelmed by these lofty demands the physically imposing Colmax chief placed upon him. Truth of the matter is that, although elegantly produced (disregarding some cam 'n' mike shadows), L'ESCLAVE DU DESIR a/k/a LE FRUIT DU DESIR to emphasize the link with the previous picture turned out a disappointingly stilted skin flick with a comparatively clever if clumsily constructed plot, wooden acting and, worst of all, lackluster sex.
Gorgeous one shot Marina Samson stars as Nathalie, a successful stock broker madly in love with married Xavier, played by stalwart Alban Ceray at his most pompous. When the latter breaks up their affair, as even an open marriage such as his has its limits, she schemes to get herself hired as the new maid at his household ! She soon has to contend with the family's devious game playing and the apparent stronghold their butler Edouard (Yves Callas, the gumshoe hero from Brunet's subsequent and superior SENS INTERDITS) exerts over them, taking after dinner liberties with lady of the house Anne-Sophie (Dominique Saint-Claire) as well as test-driving any job applicants, conning Nathalie into a threesome with half-wit gardener Gaston ("Jacky Jack" a/k/a Jacky Arnal, a minor stud seen to best advantage in Michel Lemoine's lavish LA MAISON DES MILLE ET UN PLAISIRS). Only hot to trot daughter Valerie (radiant Marianne Aubert, billed as "Sylvie Esnault") seems off limits and with good reason. Eventually, it's revealed that she's his offspring and that he was wealthy Anne-Sophie's first husband, now "reduced" to domestic duties ! With the help of business adviser Bernard (Jacques Marbeuf) a former associate of hers who "loses" his spouse Charlotte (perky Eva Kléber, a Brunet mainstay in Dorcel videos such as BELLES DE REVE and DES FEMMES POUR GOURPANOF) to the kinky lord and lady in a naughty game of chess and the unpredictability of the stock market, Nathalie succeeds in reinstating Edouard, making sure to benefit in the process.
An apparent throwback to the timidly frivolous farces of the '60s and pre-porn '70s, with only added genital close-ups to mark the passage of time, the movie stumbles through its narrative, Brunet eschewing each opportunity for eroticism or humor by drawing attention to the admittedly magnificent mansion and luxurious furnishings his producer so graciously provided, making sure that every cent of whatever the budget was appeared right up there on screen. Left to their own devices, only the ever adorable Aubert still manages to impress, hitting all the right notes as the slightly bratty but kindhearted daughter, Nathalie's only real ally in this kinky menage. Sexually, she delivers as well, devouring Ceray with single-minded dedication and performing spirited Sapphic services on sultry Samson.
His maiden voyage for Colmax as well as the first video they produced rather than just distributed, 1983's LE FRUIT DEFENDU a/k/a THE SEDUCTION OF TESSA, proved a huge success. So much so, that Alestchenkoff raised the stakes considerably for its follow-up, allowing Brunet to shoot on film still a more prestigious medium to maximize (no pun intended !) its potential by playing the porno palaces of Paris as their twilight approached. Who knows what went wrong. Perhaps the still only modestly experienced filmmaker felt overwhelmed by these lofty demands the physically imposing Colmax chief placed upon him. Truth of the matter is that, although elegantly produced (disregarding some cam 'n' mike shadows), L'ESCLAVE DU DESIR a/k/a LE FRUIT DU DESIR to emphasize the link with the previous picture turned out a disappointingly stilted skin flick with a comparatively clever if clumsily constructed plot, wooden acting and, worst of all, lackluster sex.
Gorgeous one shot Marina Samson stars as Nathalie, a successful stock broker madly in love with married Xavier, played by stalwart Alban Ceray at his most pompous. When the latter breaks up their affair, as even an open marriage such as his has its limits, she schemes to get herself hired as the new maid at his household ! She soon has to contend with the family's devious game playing and the apparent stronghold their butler Edouard (Yves Callas, the gumshoe hero from Brunet's subsequent and superior SENS INTERDITS) exerts over them, taking after dinner liberties with lady of the house Anne-Sophie (Dominique Saint-Claire) as well as test-driving any job applicants, conning Nathalie into a threesome with half-wit gardener Gaston ("Jacky Jack" a/k/a Jacky Arnal, a minor stud seen to best advantage in Michel Lemoine's lavish LA MAISON DES MILLE ET UN PLAISIRS). Only hot to trot daughter Valerie (radiant Marianne Aubert, billed as "Sylvie Esnault") seems off limits and with good reason. Eventually, it's revealed that she's his offspring and that he was wealthy Anne-Sophie's first husband, now "reduced" to domestic duties ! With the help of business adviser Bernard (Jacques Marbeuf) a former associate of hers who "loses" his spouse Charlotte (perky Eva Kléber, a Brunet mainstay in Dorcel videos such as BELLES DE REVE and DES FEMMES POUR GOURPANOF) to the kinky lord and lady in a naughty game of chess and the unpredictability of the stock market, Nathalie succeeds in reinstating Edouard, making sure to benefit in the process.
An apparent throwback to the timidly frivolous farces of the '60s and pre-porn '70s, with only added genital close-ups to mark the passage of time, the movie stumbles through its narrative, Brunet eschewing each opportunity for eroticism or humor by drawing attention to the admittedly magnificent mansion and luxurious furnishings his producer so graciously provided, making sure that every cent of whatever the budget was appeared right up there on screen. Left to their own devices, only the ever adorable Aubert still manages to impress, hitting all the right notes as the slightly bratty but kindhearted daughter, Nathalie's only real ally in this kinky menage. Sexually, she delivers as well, devouring Ceray with single-minded dedication and performing spirited Sapphic services on sultry Samson.