Kiesha Kane

Cate Harrington

Kerry Louise

Kendo

Heels &amp; Whores

Unappealing art-porn

I&apos;m seeing so many of Kendo&apos;s DVDs these days I&apos;ll probably end up being a fan (by default), but the in-your-face &quot;HEELS &amp; WHORES&quot; is all showy technique and no arousal content.

First the title: Kendo on the brief DVD liner notes rambles on about how &quot;dark&quot; the movie is, appealing to a dark side in all of us. Actually what he means is there is a cold, remote, uncaring side in all of us, depicted in this strange, off-putting video. The title of course alerts us to foot fetish action, but I looked beyond this thin veil to the real meaning. As in the world of fake wrestling (WWE/WWF), a heel is the role played by the wrestler assigned to be the bad guy, so what we have is porn actors as heels and actresses as whores on screen.

Settings are a drab retro &apos;50s drawing room furniture or cheap hotel room decor. Women have outlandish shoes and are languorous when not being reamed by the male cast, and per Kendo&apos;s dictum, the men are above it all, humping away as if under duress and never glancing admiringly at their beautiful female mates.

Hitchcock famously had his &quot;cattle&quot; (affectionate term for actors) and Kendo treats his hired players as puppets - directing their minutest position and movement for his optimal composition or striking shot. There&apos;s no life to a Kendo feature, far closer to fashion photography and advertising than to cinema, so it&apos;s no wonder that he calls his performers &quot;models&quot;. The spontaneity that surfaces even in gonzo porn is absent here.

So what we get is an assortment of huge-breasted British XXX actresses (clearly the reason why I keep sitting through these tiresome exercises by Mr. K) like Sasha Rose and Kerry Louise, having sex with an assortment of big dicks. The costuming and color schemes are often striking, but in an odd way someone as critical as I am of Kendo&apos;s work is probably more appreciative of that graphic design element, while his &quot;fans&quot; probably couldn&apos;t care less. His famous self- christened &quot;splintered&quot; editing style is present, but not as exaggerated as in subsequent films of his.

I'm seeing so many of Kendo's DVDs these days I'll probably end up being a fan (by default), but the in-your-face "HEELS & WHORES" is all showy technique and no arousal content.

First the title: Kendo on the brief DVD liner notes rambles on about how "dark" the movie is, appealing to a dark side in all of us. Actually what he means is there is a cold, remote, uncaring side in all of us, depicted in this strange, off-putting video. The title of course alerts us to foot fetish action, but I looked beyond this thin veil to the real meaning. As in the world of fake wrestling (WWE/WWF), a heel is the role played by the wrestler assigned to be the bad guy, so what we have is porn actors as heels and actresses as whores on screen.

Settings are a drab retro '50s drawing room furniture or cheap hotel room decor. Women have outlandish shoes and are languorous when not being reamed by the male cast, and per Kendo's dictum, the men are above it all, humping away as if under duress and never glancing admiringly at their beautiful female mates.

Hitchcock famously had his "cattle" (affectionate term for actors) and Kendo treats his hired players as puppets - directing their minutest position and movement for his optimal composition or striking shot. There's no life to a Kendo feature, far closer to fashion photography and advertising than to cinema, so it's no wonder that he calls his performers "models". The spontaneity that surfaces even in gonzo porn is absent here.

So what we get is an assortment of huge-breasted British XXX actresses (clearly the reason why I keep sitting through these tiresome exercises by Mr. K) like Sasha Rose and Kerry Louise, having sex with an assortment of big dicks. The costuming and color schemes are often striking, but in an odd way someone as critical as I am of Kendo's work is probably more appreciative of that graphic design element, while his "fans" probably couldn't care less. His famous self- christened "splintered" editing style is present, but not as exaggerated as in subsequent films of his.

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