Little Girls Blue Part 2

An interesting feature of both Little Girls Blue films is the tendency to introduce surreal or abstract elements into what is, of course, essentially a dip into the venerable genre of schoolgirl porn. Both films begin with sex scenes that would seem entirely natural in the work of some French avant garde director. What is happening on screen is both obvious and obscure at the same time. An attractive young woman is sucking a cock, or having sex, and yet it’s unclear just what is happening.

Part 2, the film under consideration here, begins with a saddle shoe and lower leg rocking against a blank background, followed by a nude Lori Blue (here billed as Barbara Klouds) asking the viewer, “Are you coming?” “Well, sit there if you like. I want his cock.” She’s in an anonymous locale, a pale world of emptiness, symbolic, perhaps, of the self-perceived sexual solitude of her character’s existence.

A cock appears, also anonymous, extracted from a pair of slacks, the small area of exposed torso seeming to suggest an older man, perhaps middle aged. Is this symbolic? Does Miriam (Blue’s character) yearn for the love of an older man? Is this a suggestion of subliminal incest? Does Miriam desire the dangerous sexual intimacy to be found in sucking her father’s cock? Or a teachers? Or does this anonymous phallus symbolize quite the opposite? Does she yearn for the non-intimacy of sexual release without commitment? Without any real contact at all? Is this the anonymity of the peepshow glory hole, where anonymous cock meets anonymous mouth or pussy?

As she extracts the unknown man’s organ and begins to suck it, Miriam continues to address the viewer, saying she wants to fuck his cock (not the viewer’s, but the one she’s sucking), pleading with the viewer for consent, as it were. Is the viewer supposed to represent authority? An uncaring society that seeks to repress her natural desire for intimacy?

We’re left unsure. Does her partner even cum? Perhaps there’s a climax, perhaps there isn’t. Miriam is sucking, the image of sensuousness, the bobbing saddle shoe intervenes and she’s sitting alone. The unknown man zips up his fly and walks away, still anonymous, revealing Miriam, nude but for knee socks and saddle shoes, sitting on a stool in isolation. Is she satisfied, or does it all leave her unfulfilled? A blow job, by itself, doesn’t necessarily satisfy the giver. Was this what she wanted, or merely what she got?

Perhaps we’re not meant to know. Perhaps director Joanna Williams is just being deliberately obscure.

As for Miriam, it seems it was all in her mind. The sensual fantasy ends and instead of sitting nude and isolated on her stool, Miriam is standing with her school friends at the side of a school bus that will take them all to a summer camp apparently operated by their school. The whole incident, it seems, was just in her mind.

Miriam has two more fantasy sex scenes, each just as or more surreal than the first. Both are with the camp’s head counselor, played by a young Herschel Savage (billed as Jack Blake), who seemingly remains an object of a latent desire that will be fulfilled only in fantasy. The first ends in a dreamlike, exquisitely photographed, slow-motion facial, interrupted and brought back to reality as Savage calls Miriam’s name off the roster. The girls are assembled by the bus at camp, getting their cabin assignments. This encounter is entirely oral and brilliantly erotic.

The second fantasy tryst is symbolic of something, though I’m not quite sure just what. Asked to retrieve some books from a trunk at the back of the classroom, Miriam opens it to find the trunk empty but for a nude, miniature version of herself sitting at the bottom. Alone again, it seems. This dissolves into another sexual encounter with Savage, an intense, doggy-style fuck in which Miriam seems frustrated, as if knowing in advance that the outcome will be less than satisfying. And that proves to be the case, a row of disembodied saddle shoes tapping impatiently and drawing her back to reality before she can orgasm. Perhaps this is a symbol of Miriam’s essential loneliness.

Elaine Wells returns as Buffy, who remains one of the most blatantly sexual yet seemingly virginal and innocent characters in classic porn. Buffy always comes across as essentially innocent, perhaps a bit naïve, and while she spent much of the first installment repeatedly fucking one of her teachers, all of her friends remain convinced that she’s probably still a virgin. She becomes the complete innocent, almost a Doris Day type professional virgin. Despite being experienced, no one sees her that way. She’s comic relief with her friends, but seriously sexual with Eric Edwards’ camp athletic coach, who she fucks twice in the course of the film.

These encounter are real-world, lacking the surreal quality of Miriam’s fantasy encounters. Still lovingly filmed, there’s no doubt in the viewers mind that this is happening. The second encounter, where the coach “teaches” Buffy how to suck his cock, is particularly hot, and ends with a satisfying climax.

Buffy’s unbelieving friends, Tanya and Kathy, played by Kathleen Kristel (billed as Chris Petersen) and Shirley Duke, share an intense scene with Kevin James. Tanya also skips the bus ride to camp, hitching a lift from a member of a neighboring school’s football team in the sidecar of his motorcycle and stopping off for an alfresco blow job and fuck. Kristel and Duke, like all the actresses with sex scenes, are refreshingly natural, with minimally-trimmed pubic hair, un-enhanced bodies, and not a tattoo in sight. Personally, I don’t care for tattoos, but that’s an esthetic choice and not shared by everyone today. As for the pubic hair, having it is more natural, but shaving does at least mean you can go down on someone without getting hair stuck in your teeth.

The film concludes with Miriam finally experiencing some non-fantasy sex with a Danish counselor (Bill Buck) she’s been tutoring to improve his English. In this scene, that sex is both artistic and real, shot with beautiful atmospheric lighting that gives the whole scene a wonderfully erotic atmosphere, while at the same time frequently making it a little difficult to see just what’s happening. It’s the sort of scene that, with only slight cuts, could easily make it into a mainstream film. It’s also the only time in the film where Miriam is able to let herself truly feel what is happening.

Is that, ultimately, the point of the film? Surrounded by sexually free friends, is Miriam the quintessential loner, hiding her sexual frustration in an intense but unfulfilling fantasy life until being ultimately redeemed when her fantasies are replaced by a reality where, at last, frustration is supplanted by the intensity of true physical love?

All in all, it’s a good movie. I watched it with a friend and he came twice before it was over. So did I–and then some.



82 minutes. Not rated. Directed by: Joanna Williams

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Mariam (Lori Blue) and an unidentified cock in the opening fantasy scene.

Tanya (Kathleen Kristel) takes time for a little refreshment on the way to camp.

Buffy (Elaine Wells) is an apt student in the Coach’s cock sucking lesson.

Kevin James fucks Kathleen Kristel while Shirley Duke looks on encouragingly.

An example of the director’s artistic lighting as Lori Blue performs the climactic climax of this delightfully sexy movie.

Shirley Duke and Kathleen Kristel lavish their attention on Kevin James’ cock at the beginning of their intense scene.

Elaine Wells demonstrates how well she’s learned to suck a cock as Eric Edwards explodes at the climax of her “lesson.”

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