EROTICA REVIEW: PINK VELVET: THE INNOCENCE OF LESBIAN LOVE (9 OUT OF 10)
It is no secret that pornography is a hot commodity on college campuses, and UB is no exception as is evidenced by the fact that “porn” is the most widely searched for item on DC++. However, there is little elevated discourse on themes of female-empowerment and independence found in this all-too-often marginalized art form. As such, we have decided this week to profile one film from a genre so devoid of any y-chromosomes that it is almost synonymous with radical feminism; that genre is, of course, Sapphic porn.
Contemporary pornography, especially that of the lesbian variety, is often marginalized and derided as a vulgar exhibition of pure carnality. However, when made skillfully, it has the ability to become something more substantial, as it combines the resonance of documentary film with the grandiose passion and idealism of fictional movies. Pink Velvet: The Innocence of Lesbian Love is just such a film, as while it is, superficially speaking, a cinematic smorgasbord of nubile and curvaceous young women performing cunnilingus on one another, it is also a sophisticated statement of feminist individuality in today’s world; a smart and sexy attempt to shatter the infamous glass ceiling.
The film’s protagonist is Jo, a buxom young blonde woman who is starting a new life on her own. She is first seen pensively sitting in a railroad car en route to her new life, daydreaming about the beautiful red haired woman who is seated across from her. Jo’s fantasy is indicative of the general thematic concerns of the movie, as it marks her first sexual attraction to a woman, an overt symbol of feminist independence from men.
After arriving at her destination, Jo goes to a boarding house owned by a beautiful and matronly woman, and takes up residence there. Jo’s story is temporarily shelved as midnight encounters between several of her fellow boarders are examined. Their enthusiastic intercourse conveys a sense to the viewer that Jo is not alone in her dismissal of the male sexual figure, as they are all strongly independent women, able to please each other without phallic aid, perfect role models for the enlightened female youth of America.
Jo’s first actual lesbian act takes place by serendipity, as she is shown several pleasure-inducing methods by the house’s owner after her innocent attempt to draw Jo a bath turns surprisingly sexual. Emboldened by this experience, Jo goes on to engage in various sexual activities with the other girls staying at the house, each time gaining self-confidence in her oral abilities and becoming louder about her sexual pleasure. The film climaxes as Jo has another sexual encounter with the owner, this time dominating the act with her voracious licking of her clitoris, and the simulated coitus of Jo’s now highly skilled hands. The scene’s vaginal motif plays into the theme of Jo’s rebirth as a feminist figure of strength; she has figuratively shed her societal-indoctrinated female-subservience and become a strong and assertive woman.
The cinematography of the film is also noteworthy, as its soft focus and gentle lighting remove the blight of unsightly crotch-lesions and bruises so commonly found in these films, and highlights the veritable cornucopia of pink tones found in each woman. The music also stands out, as it is muted and tender, an excellent departure from the standard porn slap-bass for such a feminine picture. Pink Velvet is truly an example of what happens when pornography transcends mere masturbatory fodder and becomes profound art.
