Robert Nathan's Lucky Bastard fought strict censor restrictions in order to keep its NC-17 rating, effectively making it the first NC-17 found footage film ever made. Wisely so, because an R-rated Lucky Bastard would've been far more inferior than the NC-17 version we got as the final cut. Despite the film being exercised in the genre I run hot and cold with, Lucky Bastard finds incredible ways to be a gripping and suspenseful outing on a genre I wouldn't completely give up on just yet.
Just last night, I watched Earth to Echo, a new found-footage adventure for young children that serves as this generation's E.T.. Not only am I fully confident in saying that this is the first and only time the mention of that film and Lucky Bastard will appear in the same review, but I am also saying that through these two films, I have found a reinvigorated sense of what the found footage genre can be if direction and approach are placed in the forefront of the film over gimmicky ideas and momentarily substantial little quirks. Both films have the ability to leave lasting impressions on viewers, especially Lucky Bastard in its often dirty and deeply disturbing nature.
Following lowlit shots of a crime scene, the film opens where a young, attractive woman named Casey (Catherine Annette) is being interview for a potential porn video by two men. Shortly after the interview, we see her being viciously raped until another porn star named Ashley Saint (Betsy Rue) walks into the home before becoming overpowered by both of the men. However, a flub by one of the men causes for the staged porn shoot to cut, which is then when we see how this entire setup works. These "rape porn" videos are shot by a loyal cameraman and managed by the cocky and sleazy producer Mike (Don McManus), who is also dating Casey, but of course not exclusively.
Following the shoot, Mike approaches Ashley about the idea of doing a shoot for his "Lucky Bastard" website, a site where a random and ambitious fan and subscriber of the series is picked to have sex with a porn star. After much convincing, being that some of Ashley's rules in the industry are no anal sex and no amateurs, she finally agrees, recognizing that she has two young children and several bills that need to be paid. The applicant they settle on is "Dave G." (Jay Paulson), a shy and squirrelly soul, who is clearly nervous about his first time being on camera and shaken when in the presence of the beautiful Ashley. Little else about the film can be said without leading into grave spoiler territory accept that Dave's behavior eventually begins to take a toll on the cast and crew of the "Lucky Bastard" shoot, leading to some incredibly unforeseen consequences.
Lucky Bastard defines the rich elements of unpredictability in a film, so much so that just when you think screenwriters Lukas Kendall and Nathan are writing themselves into a corner, they miraculously find a way out and are able to construct another intricate and tense setup just as gripping as the first. Nathan fearlessly orchestrates this idea to the fullest extent, not only bringing to life the smuttiness of the porn industry, but also emphasizing that we (you know who you are) are the people that keep this industry in business. Because we crave and view strange and off-kilter pornography like this is why guys like these are in the business. Should we feel ashamed or should we keep on buying lotion and watching?
In reviewers' rants about why Lucky Bastard somehow suffers from a lack of originality, let's hope they don't forget to recognize the great performances at hand here that come from more than Betsy Rue as the porn star, who clearly isn't a helpless, damsel in distress. The performance of the hour comes from Don McManus, who delivers the role of a sleazeball porn producer to such extreme effect, whether he's using his slickness to propel a scene forward, anger to scold and demean, or fear to convince and persuade. McManus shows the extreme diversity of an actor's emotional leverage in one, ninety minute project to the degree that some have a hard time conveying in over a decade in the business. Then there's Paulson, who we can't forget, plays the role of the innocuous and sweet man who doesn't know any better to a vindictive soul with similar leverage and effect to McManus. The unexpectedly refined and winning performances are what keeps Lucky Bastard engaging throughout.
However, what keeps the film riveting, never boring, and a rousing great time is just the episodic structure of scenes you didn't expect or predict flowing so well together to create an intense and gripping final product. There is such a cluster of clever ideas and a barrage of different camera angles that work to make the film a consistently exciting great time. Few first time directors can make such an ambitious, gifted product, but Nathan - whose credits include working on the original staffs for shows like ER and Law & Order - uses incredible realism and quietly-vocalized questions to his advantage, creating a tense and well-structured piece of cinema from a genre I previously thought was long gone dead.
Starring: Don McManus, Jay Paulson, Betsy Rue, Chris Wylde, Catherine Annette, Lee Kholafai, and Lanny Joon. Directed by: Robert Nathan.
Just last night, I watched Earth to Echo, a new found-footage adventure for young children that serves as this generation's E.T.. Not only am I fully confident in saying that this is the first and only time the mention of that film and Lucky Bastard will appear in the same review, but I am also saying that through these two films, I have found a reinvigorated sense of what the found footage genre can be if direction and approach are placed in the forefront of the film over gimmicky ideas and momentarily substantial little quirks. Both films have the ability to leave lasting impressions on viewers, especially Lucky Bastard in its often dirty and deeply disturbing nature.
Following lowlit shots of a crime scene, the film opens where a young, attractive woman named Casey (Catherine Annette) is being interview for a potential porn video by two men. Shortly after the interview, we see her being viciously raped until another porn star named Ashley Saint (Betsy Rue) walks into the home before becoming overpowered by both of the men. However, a flub by one of the men causes for the staged porn shoot to cut, which is then when we see how this entire setup works. These "rape porn" videos are shot by a loyal cameraman and managed by the cocky and sleazy producer Mike (Don McManus), who is also dating Casey, but of course not exclusively.
Following the shoot, Mike approaches Ashley about the idea of doing a shoot for his "Lucky Bastard" website, a site where a random and ambitious fan and subscriber of the series is picked to have sex with a porn star. After much convincing, being that some of Ashley's rules in the industry are no anal sex and no amateurs, she finally agrees, recognizing that she has two young children and several bills that need to be paid. The applicant they settle on is "Dave G." (Jay Paulson), a shy and squirrelly soul, who is clearly nervous about his first time being on camera and shaken when in the presence of the beautiful Ashley. Little else about the film can be said without leading into grave spoiler territory accept that Dave's behavior eventually begins to take a toll on the cast and crew of the "Lucky Bastard" shoot, leading to some incredibly unforeseen consequences.
Lucky Bastard defines the rich elements of unpredictability in a film, so much so that just when you think screenwriters Lukas Kendall and Nathan are writing themselves into a corner, they miraculously find a way out and are able to construct another intricate and tense setup just as gripping as the first. Nathan fearlessly orchestrates this idea to the fullest extent, not only bringing to life the smuttiness of the porn industry, but also emphasizing that we (you know who you are) are the people that keep this industry in business. Because we crave and view strange and off-kilter pornography like this is why guys like these are in the business. Should we feel ashamed or should we keep on buying lotion and watching?
In reviewers' rants about why Lucky Bastard somehow suffers from a lack of originality, let's hope they don't forget to recognize the great performances at hand here that come from more than Betsy Rue as the porn star, who clearly isn't a helpless, damsel in distress. The performance of the hour comes from Don McManus, who delivers the role of a sleazeball porn producer to such extreme effect, whether he's using his slickness to propel a scene forward, anger to scold and demean, or fear to convince and persuade. McManus shows the extreme diversity of an actor's emotional leverage in one, ninety minute project to the degree that some have a hard time conveying in over a decade in the business. Then there's Paulson, who we can't forget, plays the role of the innocuous and sweet man who doesn't know any better to a vindictive soul with similar leverage and effect to McManus. The unexpectedly refined and winning performances are what keeps Lucky Bastard engaging throughout.
However, what keeps the film riveting, never boring, and a rousing great time is just the episodic structure of scenes you didn't expect or predict flowing so well together to create an intense and gripping final product. There is such a cluster of clever ideas and a barrage of different camera angles that work to make the film a consistently exciting great time. Few first time directors can make such an ambitious, gifted product, but Nathan - whose credits include working on the original staffs for shows like ER and Law & Order - uses incredible realism and quietly-vocalized questions to his advantage, creating a tense and well-structured piece of cinema from a genre I previously thought was long gone dead.
Starring: Don McManus, Jay Paulson, Betsy Rue, Chris Wylde, Catherine Annette, Lee Kholafai, and Lanny Joon. Directed by: Robert Nathan.