I saw 8 of Shaun Costello's films theatrically (purely at random) back in the '70s-'80s, but thanks to video I've now seen over 50. OZARKS is quite minor but carries his stamp of clever plots/solid improvisation/slapdash production.
Shaun knits it all together by appearing on screen himself giving newscasts which provide story exposition. A foursome is stranded after a plane crash (the durable movie gimmick of FIVE CAME BACK), and they split into two groups to seek help. (It's as far from the classy Reese Witherspoon production WILD as you can imagine.)
Dr. Maergaret Weed is portrayed by future disco star Andrea True, and though they're stranded and hiking for their lives, there's a handy blanket for True and a young, blond- haired Eric Edwards to hump on, seemingly to keep their spirits up (Reese had to rely on flashbacks for her sexual activity). The other pair hump on their own blanket, unidentified performers including a Black girl named Helen for mixed-combo action.
Banjo music plays as a third couple, farm folk Davey Jones & Mary Stuart have sex on yet a third blanket (too bad Shaun's work predates Product Placement as he could have hooked up with a manufacturer).
Reunited foursome find the farmhouse with plenty of life-giving water belonging to Jones, and Costello pops up in a dual role playing the farmhand. The auteur gets to hump True on a 4th blanket, and the farm's location is identified as Sleazy Oaks, Arkansas.
Eric befriends Stuart and tries to sell her smog insurance (that's his job). She's not interested but humps him on another blanket. The Black girl Helen who is Weed's secretary gets physical with Jones.
Costello is back on the air broadcasting that searchers have not found any trace of the plane (no surprise since this plane-crash movie is far too cheap to show us a plane at all)
Film ends with True and Stuart having a lesbian scene, that segues to troilism.
What does it all mean? Basically this is an exercise of form following function - events like the small-talk dialog are improvised and sexual content is born out of necessity - mixing and matching the available cast (minus any gay sex option as the fans presumably wouldn't stand for that) in explicit sex mode until about an hour of usable footage has been printed. Edit, release, and repeat, with some slightly different concocted premise for the next masterwork.
It served the maestro well 40 years ago, and unfortunately porn hasn't advanced much beyond this point, in fact regressing so that most new product more closely resembles the loops Edwards, True and Costello starred in at the beginning of their careers.
I do like Shaun's catchy title which proves great minds think alike. Even before he made this forgettable opus, I concocted a tile that was never used but has a similar ring: LESBO ACTIVITY IN THE ADIRONDACKS. Now that i've gone public with it, I hope someone uses it for a real video - I'll be the first (and last perhaps) kid on my block to buy a copy.
Shaun knits it all together by appearing on screen himself giving newscasts which provide story exposition. A foursome is stranded after a plane crash (the durable movie gimmick of FIVE CAME BACK), and they split into two groups to seek help. (It's as far from the classy Reese Witherspoon production WILD as you can imagine.)
Dr. Maergaret Weed is portrayed by future disco star Andrea True, and though they're stranded and hiking for their lives, there's a handy blanket for True and a young, blond- haired Eric Edwards to hump on, seemingly to keep their spirits up (Reese had to rely on flashbacks for her sexual activity). The other pair hump on their own blanket, unidentified performers including a Black girl named Helen for mixed-combo action.
Banjo music plays as a third couple, farm folk Davey Jones & Mary Stuart have sex on yet a third blanket (too bad Shaun's work predates Product Placement as he could have hooked up with a manufacturer).
Reunited foursome find the farmhouse with plenty of life-giving water belonging to Jones, and Costello pops up in a dual role playing the farmhand. The auteur gets to hump True on a 4th blanket, and the farm's location is identified as Sleazy Oaks, Arkansas.
Eric befriends Stuart and tries to sell her smog insurance (that's his job). She's not interested but humps him on another blanket. The Black girl Helen who is Weed's secretary gets physical with Jones.
Costello is back on the air broadcasting that searchers have not found any trace of the plane (no surprise since this plane-crash movie is far too cheap to show us a plane at all)
Film ends with True and Stuart having a lesbian scene, that segues to troilism.
What does it all mean? Basically this is an exercise of form following function - events like the small-talk dialog are improvised and sexual content is born out of necessity - mixing and matching the available cast (minus any gay sex option as the fans presumably wouldn't stand for that) in explicit sex mode until about an hour of usable footage has been printed. Edit, release, and repeat, with some slightly different concocted premise for the next masterwork.
It served the maestro well 40 years ago, and unfortunately porn hasn't advanced much beyond this point, in fact regressing so that most new product more closely resembles the loops Edwards, True and Costello starred in at the beginning of their careers.
I do like Shaun's catchy title which proves great minds think alike. Even before he made this forgettable opus, I concocted a tile that was never used but has a similar ring: LESBO ACTIVITY IN THE ADIRONDACKS. Now that i've gone public with it, I hope someone uses it for a real video - I'll be the first (and last perhaps) kid on my block to buy a copy.