Turner: "Oh, a man of words... He makes up in diction what he lacks in dick." Or: "I never forget a face... Especially when I've sat on it." (also Turner) These are the kinds of lines we get to hear in this movie. It's yet more sexual lunacy from the most sex-obsessed director of the last three decades (not counting Russ Meyer). Russell presents a bizarre combination between wacky sexual-situation comedy, family drama, and psycho-thriller. The movie goes in all sorts of directions, and seems to be about a lot of things - with sex (what else?) being the unifying theme in all the issues. There is both intentional and unintentional humour, though with Russell you can't always tell which is which, but most of the film is a sort of eccentric drama.
The characters of Turner and Perkins are absurd and over-the-top, respectively; Turner is a career woman who works as a prostitute during the night, while Perkins is a deranged wanna-be minister with mania written all over his face. At the beginning, Perkins so overdoes his part (as is typical of this incompetent over-actor) that you can't help but laugh. Turner, though playing a far-fetched character, is quite convincing, and very charismatic, as usual. Turner's character is the writer's idea of what a woman, who has been emotionally hurt by a failed relationshit, might do to deal with her disappointment in male-kind (i.e. mankind): she turns to fulfilling (male) fantasies as a prostitute. That'll happen... The idea that Turner - who has sex all the time with various men - would suddenly get emotionally aroused with a customer (Laughlin) just because he feels for her or whatever, is preposterous, though not annoying. In fact, nothing seems to be annoying in the film, in spite of it being Russell's.
Well, almost; Russell took one or two themes from Dvorak's "New World Symphony" and milked them for all they're worth. These melodies are played over and over and over, in varying styles. Strange, because this music doesn't in any way suit this film. Some dialog sounds unnatural, some is silly/comical and loaded with sexual word-play, and some is right out of a TV soap-opera.
Perhaps the funniest moment was when Turner, while rummaging through Perkins's bag, finds a powerful-looking metal dildo and asks him whether it's a cruise-missile.
The characters of Turner and Perkins are absurd and over-the-top, respectively; Turner is a career woman who works as a prostitute during the night, while Perkins is a deranged wanna-be minister with mania written all over his face. At the beginning, Perkins so overdoes his part (as is typical of this incompetent over-actor) that you can't help but laugh. Turner, though playing a far-fetched character, is quite convincing, and very charismatic, as usual. Turner's character is the writer's idea of what a woman, who has been emotionally hurt by a failed relationshit, might do to deal with her disappointment in male-kind (i.e. mankind): she turns to fulfilling (male) fantasies as a prostitute. That'll happen... The idea that Turner - who has sex all the time with various men - would suddenly get emotionally aroused with a customer (Laughlin) just because he feels for her or whatever, is preposterous, though not annoying. In fact, nothing seems to be annoying in the film, in spite of it being Russell's.
Well, almost; Russell took one or two themes from Dvorak's "New World Symphony" and milked them for all they're worth. These melodies are played over and over and over, in varying styles. Strange, because this music doesn't in any way suit this film. Some dialog sounds unnatural, some is silly/comical and loaded with sexual word-play, and some is right out of a TV soap-opera.
Perhaps the funniest moment was when Turner, while rummaging through Perkins's bag, finds a powerful-looking metal dildo and asks him whether it's a cruise-missile.