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Wild Orchid
WHAT'S IT ALL ABOUT?
When you're feeling a bit randy at the video-rental palace and reach for a title that promises eroticism and a certain, uh, reaction on your part, you have certain expectations. You probably don't care an awful lot about the plot or the characters, although it would be nice to see some good-looking people climbing all over each other. What you most care about is whether the movie can start your motor, whether the movie can get you going, if you catch my drift.
Wild Orchid is a film that counts on those expectations. As far as plot and character go, this one's dead on arrival. Starring ultra-slimy Mickey Rourke and gorgeous newcomer Carré Otis, Wild Orchid follows young attorney Emily (Otis) to Rio de Janeiro as she negotiates, with the help of seasoned veteran Claudia (Jacqueline Bisset), a multimillion dollar property deal. Emily naturally finds herself profoundly horny in the midst of this decadent setting and is helpless under the testosterone-rich sway of Wheeler (Rourke). As the proceedings grow more and more sensual, the writing produces more and more cringing on the part of the audience. When Wheeler asks Emily what she sees as two people rut in the back seat of a limousine, Emily answers, "I see two people having sex." Wheeler, all sticky charm and greased locks, replies, "Making love...there's a difference."
The acting is self-conscious and wooden, but that might be a factor of the screenplay. You're left evaluating the film on the basest of terms: Is it hot? The answer is: Part of it. The sex scene that climaxes the film is about as hot as they come. Rourke and Otis were an item at the time, and rumor has it the sex is real. After much scrutiny, I can tell you that the rumor is pretty well-founded.
The disc offers a 112-minute unrated version of the film on Side A and a 105-minute R-rated version on the flipside. I can't imagine why anyone would watch the R-rated version, as doing so would deny the film's reason for existence.
HOW'S IT LOOK?
MGM presents Wild Orchid in an anamorphic transfer of the film's original 1.85:1 theatrical aspect ratio. It's a mediocre effort. Obviously, I wasn't expecting the crystal clarity of today's releases, but I expected more here. Only close-ups reveal any clarity. Wide shots are considerably grainy and look aged. Backgrounds are lost in smears and softness. Detail is wanting. The print shows minor wear. On the plus side, the colors appear to be accurate, preserving the film's bluish palette.
HOW'S IT SOUND?
The Dolby Digital 2.0 audio track gets the job done without delivering any pizzazz. However, at times, the sound levels seem off. Dialog is often faint under music or incidental noise. Separation across the front isn't anything to write home about.
WHAT ELSE IS THERE?
The original theatrical trailer.
WHAT'S LEFT TO SAY?
I suppose this one's worth a rental, if only for the film's final ten minutes. Even so, there's an awful lot of silliness and posturing leading up to that.
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