“Eat at the Blue Fox”
The Film (4/5)
If you eat at the Blue Fox nightclub, you know that the taco buffet line is always open as the nightclub’s expatriate owner, Rick, has reached high times with the most popular strip joint just south of the border into Mexico, even scoring doubly large with one of the well-endowed female performers named Cid. On Rick’s last night as the club’s host before his anticipated return Stateside, the corrupt sheriff T.M. Wade ceases his collaboration with Rick’s sultry establishment when a new highway construction employs the corrupt local law to force Rick into closing down his beloved Blue Fox, putting an end to Rick’s north of the border plan. To top off Rick’s troubles, sheriff T.M. incarcerates all of Blue Fox’s girls, including Rick’s girl Cid. Deep in despair, Rick’s stamina to keep the Blue Fox purring has been extinguished; that is until he meets a rich daddy’s girl that changes everything, giving Rick a plan to not only regain his lucrative business and hope to reenter America, but will also set free Cid from jail.
Director Richard Aldrich has been a staple of the adult film industry for years, though you may not immediately recognize the name. Aldrich’s start in the industry began as an entrepreneur in the early 1970’s as solely a producer while dabbling a little here and there in crew work. As a director beginning nearly a decade later in the 1980’s, Richard Aldrich helmed adult features under a catchier moniker, Damon Christian, with “Eat at the Blue Fox” being his third directorial in 1983, starring the biggest names in the industry at the time such as Ron Jeremy as Rick, Pamela Mann cupped as Cid, and featuring the talents of Herschel Savage, Desiree Lane, Ray Wells, Blake Palmer, Kimberly Carson, and two-time Miss Nude Universe winner and Russ Meyer plaything Kitten Natividad!
“Eat at the Blue Fox” is set in the dusty afterthought that is Mexico post the opening of the newly installed highway bridge that ultimately eradicates Rick’s high traffic business, but Rick, by means of a well-rounded and hilarious Ron Jeremy, is an unstiffened, no-filter sarcastic jokester, even if the face of adversity and on the down end of optimism. When Rick gets his groove back and devises a scheme that will thwart his string of bad luck, that’s when John Finegold’s farcical script borrows a morsel scene or two from director Michael Curtiz’s Humphrey Bogart starring, World War II drama “Casablanca” by more than just the two lead men donning the same name Rick. Finegold’s small implementations of popular iconic film moments work well around a dialogue of crude humor and filthy situations, especially from the cesspit mouth of Ron Jeremy and his impeccable standup bits of smirk guilty one liners. Beyond Jeremy’s lively and cavalier attitude, Jerry Abrams’ corrupt Mexican sheriff performance casually crosses that line of brown-face, clichéd with quote, “Badges? We don’t need no stinkin’ badges!” Lazaro Valdez is a finer Hispanic plant being Rick’s genuinely jubilant piano-playing, right hand Sam equivalent named, appropriately enough, Jose.
Looking over the adult film’s nitty-gritty, Ron Jeremy reigns in an impressive three ladies: Kimberly Carson, Dominique, and Pamela Mann. Jeremy’s an extremely animated partner with playfully verbal abuse along with handfuls of groping and biting around the breasts with all three women; surely the sign of a breast man. As we can all agree that an ample rack is a pair to drool over, and Pamela Mann surely enough sports a massively soft chest one could just nestle right into, much of “Eat at the Blue Fox” plays on it’s double entendre title as Damon Christian focuses primarily on the oral foreplay while seemingly rushing through the main intercourse especially in scenes involving Desiree Lane with Frank James, Theresa Jones getting double teamed by Herschel Savage and Ray Wells, and Pamela Mann engaged with beer can cock Blake Palmer aka The Wedge. Rounding out the illustrious cast in minor role performances are Jerry Davis who publicly pounds one film wonder Taren Jacobs on Blue Fox’s stage.
Damon Christian’s hardcore rom-com is a kookily skewed take on the 1942 classic film “Casablanca” while able to stand securely on it’s own two feet with more voluptuous women who are scantily cladded and affixed to a slightly less romantic situation. Fans of Ron Jeremy will revel in his misogynistic and overweening wit. The Hedgehog’s in the prime of his heyday with a slender, yet short statured, and still very hairy form gracing the screen, and the inside of his female cohorts, with one of the largest, and well recognizable, one-eyed willies in the adult industries. If you can get through the crater-sized plot holes and Desiree Lane’s C-section scar, “Eat at the Blue Fox” is quite inviting in many delectable areas.
The Film (4/5)
Private dicks Spado Zappo and Pigeon Johnson are the last hope for busty secretary Brenda Weeks, employing them for a $50,000 case, nicknamed the Cinderella case, to track down and locate a more buxom woman once encountered by her aging mogul boss. The only pieces of evidence provided to the two detectives are a black and white photograph and a brass bra that exactly matches the mysterious woman’s massive cup size. As Zappo and Johnson come closer to their beautifully titillating target, they soon realize that many other far more dangerous players are in the running for the substantial reward and closing this case may require a more thorough vetting of assets of other women involved.
A double dose of director Damon Christian in Vinegar Syndrome’s Peekarama Big 2 Unit Show release with “Titillation” bringing up the rear. However, the rear is not the primary focus of the 1982 feature, but rather the top heavy gargantuan busts of the actresses Shery Carter, Angelique Pettyjohn billed as Heavan St. John, and Kitten Natividad in a more revealing role than in “Eat at the Blue Fox!” The private detectives that handsomely fit the bill are portrayed by Eric Edwards and Randy West, steaming up scenes with sleazy arrogance without taking themselves too seriously. Mike Horner, Gina Gianetti, Sandra Miller, Mike Zempter, Sylvie Pesca, and Roy SImpson as Felix Fitswilly round out the roster.
John Finegold is on the story credit again for this double feature with another funny and relaxed script worthy of being a resident in the porn world with a storyline of private detectives and their suggestive dames while still managing to capture conventional slapstick humor that can be enjoyable for everyone, but much like in the aforementioned review, the narrative also jumps quite a bit, loosely connecting the scenes together which is typical adult film fair. Still, Finegold's script is way better than most of the time era.
What's an interesting, fun fact about "Titillation" is that the film co-stars "Get Smart" and "Star Trek" famed actress Angelique Pettyjohn in one of her handful of hardcore performances before jumping shark back to reliving her Trekkie days at conventions where she manages to make a pretty penny. Pettyjohn is an absolutely aggressive wildcat reducing a usually confident Eric Edwards to a puny pecker even when he's pumping her full of his private dick. Her threesome scene with Horner and Carter caters to a calmer, sexier tone that joins two giant racks together in a trinity of sweaty flesh. Pettyjohn's rival, Kitten Natividad, out busts Pettyjohn as the pair that got away in this Cinderella tale, but Natividad never goes full explicit as part of a contractual condition that's much the same in all her non-hardcore hardcore career, leaving the hardcore to her co-stars as she toplessly shimmies in an awkward softcore scene with a hefty Mike Zempter donning the backstabbing role of Fitswilly chauffeur driver.
"Titillation" delivers comedy, film noir, and sex. A charismatic sleuth with timeless slapstick comedy that goes hand-in-hand with hijink nooky in between. Damon Christian hammers out a rather swiss-cheese, but delightful, script penned by John Finegold and when the two are combined at the hip, the result favors the senses and "Titillation" is no by far no different from it's accompanying feature.
Audio / Video (3.5/5)
This Vinegar Syndrome Peekarama double bill release has been through usual 2k scanned and restored ringer from the 35mm interpositive prints. Both films are presented in their original aspect ratio, anamorphic widescreen, and are rendered nicely with natural coloring and reduced graininess. "Titillation" has a minor issue with a brief and awkward editing gaffe at the beginning when the silhouette of Eric Edwards trips and falls before reaching his office door. Also, during the Pettyjohn threesome, the orange base comes to the forefront right at the end, heating up the screen with a bright orange flame coloring that lasts about 2 to 3 seconds.
A Dolby Digital mono track runs the total 165 minute runtime course between both films and performs as best as can be expected. Hissing is almost nonexistent, aside from Randy Riveria's "Eat at the Blue Fox's" original song with the same title that suffers from hiss of feedback. "Titillation" has faint pops here and there, but nothing substantial to ruin your experience. Each film prevalently showcases dialogue with much of the tracks also well balanced in the mono mix.
Both films come with reels with "Eat at the Blue Fox" is accompanied with it's original theatrical trailer.
I'm now a fan of Damon Christian, aka Richard Aldrich, in providing stimulation and comedy, blended finely and firmly with engrained verbose adult entertainment talent of mixed range attributes and backgrounds. I feel lead studs Ron Jeremy and Eric Edwards stand out greatly with their own comedic outputs that don't really surprise us from their usual gems and mammoth mammary lovelies Pamela Mann and Angelique Pettyjohn intimidate with not only their sheer chest volume, but their ferocity of aggressiveness. "Eat at the Blue Fox" and "Titillation" are both thumb up triple X features that are easy on the mind, body, soul, and eyes. Recommended.