Volume 93, Issue 46

November 19, 1999


Weekend Pass

Rahzel doesn't forget his Roots

Canadians are getting a sweet taste of Choclair


Crows give good show, despite early flight


Those of you who believe that all porn was created equal are about to have your delicate bubbles of illusion popped.

Many have come to expect pornographic films to fit a certain mould. Poor acting and laughable scripts are featured and set against what appears to be someone's living room, all captured on inexpensive, hand-held video and done within 40 minutes or less.

A pleasant surprise awaits those who walk into director Robyn Dyer's new film with these expectations, as it breaks from and far surpasses these generic shackles. The Seven Deadly Sins is a stylistically and textually intelligent porn, certain to raise the standards for all other filmmakers in the industry.

The first thing to herald the movie as a pornographic anomaly is the fact that it is shot on film, rather than the typical low quality video. This visual enhancement somehow works to legitimize The Seven Deadly Sins as a full feature film from which viewers can expect a solid, entertaining storyline – and that's exactly what writer Ren Savant delivers.

The movie is divided into seven distinct parts, each dealing with one of the seven sins with its own unique cast, setting and style. Although it may sound like a blasphemous and erotic glorification of these moral offenses, most of the stories end with the characters paying for their wrongful actions, actually affirming some kind of moral fabric.

In addition to the substantial and relevant dialogue, what brings The Seven Deadly Sins to its high level, is the way in which it stylistically ties everything together.

Each of the stories takes its main character to an alternate fantasy world where their sin takes place. Dyer has brilliantly assigned a dominate colour to each of these realms – red for anger, green for envy, white for greed and so on – visually drawing the viewers' attention to the content and emotion of the sequence. The overall effect is both visually and thematically stunning.

The first and perhaps most notable segment deals with Envy, featuring a porn superstar and her overzealous fan. Eventually the porn queen and her humble yet psychotic admirer meet in a fantasy world, where they prove Kramer's theory that if girls start fighting, they might start kissing. At the end of the scene viewers and the two women themselves realize they are in fact the same person. Done poorly, a sex scene this intricate could have been disastrous. Instead, it is masterfully spliced and seamlessly edited, allowing audiences to completely accept the character's duality and enjoy the scene.

Enhancing the success of this particular storyline is the acting. For those well versed in pornography, the main character was played by the reputed Ganine. Those who get their pornographic intake from the mainstream, will know her as the sultry blonde nurse from the Blink 182 CD cover and video. This will actually be one of Ganine's last efforts, as she is retiring from the business this year with plans to raise her eight year-old and hopefully teach. After her solid performance here, it's safe to say the industry is going to miss her.

It is hard to find a weakness in The Seven Deadly Sins. The script is intriguing and witty. Though often overlooked in porn, both style and theme are intelligently and effectively highlighted. Robin Dyer simply hasn't neglected one element in this movie, including the high energy sexual content which is tastefully yet enthusiastically and sensually delivered.

There are no cryptic cries for Rosebud and you may not find it on any mainstream Hollywood Top 10 listing, but The Seven Deadly Sins is unequivocally the Citizen Kane of the pornography genre.

–Sara Martel

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Copyright The Gazette 1999