Wanting more of the same at half the cost, the mob-affiliated moguls that ran the Times Square porno playhouses pressed the dependable Shaun Costello into duty to come up with a sequel to Bill Milling's ORIENTAL BLUE which had netted them mucho dinero the year before. Costello had gained the employ-ably enviable reputation of finishing films on schedule and well within budget. Of course, this good stance also meant that he was never first in line whenever massive means were to be spent on any particular project, causing frustration only quenched by his lavish twilight track record as the posh "Warren Evans".
THAT LADY FROM RIO closed the book on Costello's initial stab at the big time as alleged dirty movie directrix "Amanda Barton", a "female" filmmaker of great taste and sensual sophistication called into life as a mendacious marketing ploy designed to attract the coveted couples crowd. Peonies Jong's Madame Blue had proved herself a powerful if ultimately put upon ringleader in ORIENTAL BLUE but she was still drugging and selling members of her own sex. Doesn't exactly scream "couples flick", huh ? Henceforth, her replacement (Vanessa Del Rio's frugally ID'd Number One) is an emissary from an organization largely run by modern day amazons devoted to sex for monetary gain, somewhat unfortunately called SPHINCTER (Shaun's predilection for toilet humor rears its ugly head anew), and they're looking to branch out into male sex slaves for wealthy women.
Plot picks up pretty much where first film left off, with Madame Blue conveniently out of the way and Max (Bobby Astyr) moving in on her turf. Discarding all references to the original's World Bordello Association, Max now has to answer to SPHINCTER, though I have a sneaking suspicion the name change was just an excuse for Shaun to have a large map with flashing lights indicating successful infiltration, boldly emblazoned with "World SPHINCTER Control" ! Head Office has sent down Number One to check why business has dropped by 50 percent since Blue's demise, suspicious that Max may be dealing on the side with local mobster Don Vittorio, played to the hilt by Leonard Cooper, the chauffeur on MIDNIGHT DESIRES, who arbitrarily affect a Russian rather than Italian accent ! Language fooler misunderstanding out of the way (Roger Caine's henchman Bruno translates Vanessa's Spanish to con Max into inadvertently spilling the beans), Max shows her the "quality goods" he has got ready for shipping, a sip of Love Juice (or rather the new and improved South of the border Jugo de Amor !) still capable of instantly obliterating a young girl's inhibitions.
That's all of 15 minutes of story duly dispensed with. If it were better, you might have wished for more but it's a pale rehash of situations and characterizations from the original minus carefully constructed narrative. So let's push on to the sex, which is where Costello's creativity really comes into play. A frequent performer in his own films, for fun as much as cutting costs, he has always instinctively known how to generate considerable heat. This ability completely saves the film's final hour, which is pretty much wall to wall banging and none the worse for it. Stylishly shot by the director's trusty camera cohort Bill Markle, scenes successfully blend sleaze and sensuality with a faux feminist flavor clumsily undercut by the final encounter which demonstrates the "turning" of a lesbian couple (butch Crystal Sync, still sporting buck teeth, and femme Brigitte Lavera from Carter Stevens' HONEYMOON HAVEN) as Astyr and Costello whip out their dicks, egged on by Vanessa.
Although ostensibly a star vehicle for Vanessa, the Latina almost has her thunder stolen by Marlene Willoughby's SPHINCTER sister siren Sultana. Screeching like a banshee, she practically devours the director and Jamie Gillis, the latter playing a different part than he did in the prequel...where he was killed off ! Cult favorite Jean Dalton scores as an allegedly under-aged kidnap-pee in a bathroom bit with hairy John Buco, the cop hero from Shaun's transgressive WATER POWER. Both Jenny Baxter and haunting Hope Stockton look fetching in schoolgirl garb as a pair of Boston sisters submitting to Caine's cock, wishing he had five, six, eight of them ! Too bad Costello didn't take full advantage of Max's loyal assistants Carla and Darla as a legitimate double act, resplendent in identical silver disco togs. Underused Ursula Austin all but falls by the wayside but Sharon Mitchell makes an auspicious adult debut at the tender age of 18 (whatever she has claimed since) doing a double penetration with Gillis and Costello ! The late Astyr, resorting to his familiar Borscht Belt shtick, holds the distinction of popping mighty Mitch's screen cherry however in a spirited scene she would affectionately recall in a Hustler interview many years down the line. Asked to talk dirty, the best she could come up with was "come in my hand" !
THAT LADY FROM RIO closed the book on Costello's initial stab at the big time as alleged dirty movie directrix "Amanda Barton", a "female" filmmaker of great taste and sensual sophistication called into life as a mendacious marketing ploy designed to attract the coveted couples crowd. Peonies Jong's Madame Blue had proved herself a powerful if ultimately put upon ringleader in ORIENTAL BLUE but she was still drugging and selling members of her own sex. Doesn't exactly scream "couples flick", huh ? Henceforth, her replacement (Vanessa Del Rio's frugally ID'd Number One) is an emissary from an organization largely run by modern day amazons devoted to sex for monetary gain, somewhat unfortunately called SPHINCTER (Shaun's predilection for toilet humor rears its ugly head anew), and they're looking to branch out into male sex slaves for wealthy women.
Plot picks up pretty much where first film left off, with Madame Blue conveniently out of the way and Max (Bobby Astyr) moving in on her turf. Discarding all references to the original's World Bordello Association, Max now has to answer to SPHINCTER, though I have a sneaking suspicion the name change was just an excuse for Shaun to have a large map with flashing lights indicating successful infiltration, boldly emblazoned with "World SPHINCTER Control" ! Head Office has sent down Number One to check why business has dropped by 50 percent since Blue's demise, suspicious that Max may be dealing on the side with local mobster Don Vittorio, played to the hilt by Leonard Cooper, the chauffeur on MIDNIGHT DESIRES, who arbitrarily affect a Russian rather than Italian accent ! Language fooler misunderstanding out of the way (Roger Caine's henchman Bruno translates Vanessa's Spanish to con Max into inadvertently spilling the beans), Max shows her the "quality goods" he has got ready for shipping, a sip of Love Juice (or rather the new and improved South of the border Jugo de Amor !) still capable of instantly obliterating a young girl's inhibitions.
That's all of 15 minutes of story duly dispensed with. If it were better, you might have wished for more but it's a pale rehash of situations and characterizations from the original minus carefully constructed narrative. So let's push on to the sex, which is where Costello's creativity really comes into play. A frequent performer in his own films, for fun as much as cutting costs, he has always instinctively known how to generate considerable heat. This ability completely saves the film's final hour, which is pretty much wall to wall banging and none the worse for it. Stylishly shot by the director's trusty camera cohort Bill Markle, scenes successfully blend sleaze and sensuality with a faux feminist flavor clumsily undercut by the final encounter which demonstrates the "turning" of a lesbian couple (butch Crystal Sync, still sporting buck teeth, and femme Brigitte Lavera from Carter Stevens' HONEYMOON HAVEN) as Astyr and Costello whip out their dicks, egged on by Vanessa.
Although ostensibly a star vehicle for Vanessa, the Latina almost has her thunder stolen by Marlene Willoughby's SPHINCTER sister siren Sultana. Screeching like a banshee, she practically devours the director and Jamie Gillis, the latter playing a different part than he did in the prequel...where he was killed off ! Cult favorite Jean Dalton scores as an allegedly under-aged kidnap-pee in a bathroom bit with hairy John Buco, the cop hero from Shaun's transgressive WATER POWER. Both Jenny Baxter and haunting Hope Stockton look fetching in schoolgirl garb as a pair of Boston sisters submitting to Caine's cock, wishing he had five, six, eight of them ! Too bad Costello didn't take full advantage of Max's loyal assistants Carla and Darla as a legitimate double act, resplendent in identical silver disco togs. Underused Ursula Austin all but falls by the wayside but Sharon Mitchell makes an auspicious adult debut at the tender age of 18 (whatever she has claimed since) doing a double penetration with Gillis and Costello ! The late Astyr, resorting to his familiar Borscht Belt shtick, holds the distinction of popping mighty Mitch's screen cherry however in a spirited scene she would affectionately recall in a Hustler interview many years down the line. Asked to talk dirty, the best she could come up with was "come in my hand" !