Catwoman, The (VCA) Review

Reviewed by Corey Thomas  on  8/18/2005

John Leslie's "The Catwoman", which marks one of his last, if not the last, of his sex roles is a moody, charged, and very erotic masterpiece that helped establish his directorial style.

Kathleen Gentry stars as Jennifer, a photographer who is having problems with her boyfriend Stefan (played by Joey Silvera). While she is walking home from work, she has the feeling that she is being followed. She literally bumps into a stranger (Leslie), who invites her for a drink. As they talk, hints of sexuality echo out of their conversation. He offers to call her a cab, but instead she offers to walk him home.

When they get inside Leslie's home, they get it on as soon as you can say "Bingo". This sex scene is especially charged and ranks as one of the all-time best, in my opinion. He rips off her clothes and passionately starts licking her body as she gives him an equally ferocious blowjob. They then start to fuck, with the two of them getting so much into it, that you can see Gentry's scratchmarks on his back. When he cums, he does it free of hands as it flies over Kathleen's body. The scene doesn't end there, however. He goes down on Gentry and licks her wet pussy. Quite the gentleman.

The next day, while sorting through photographs a work, a strange feeling comes over Jennifer. She has the urge to rip off her clothes and lets out a roaring sound. She goes back to the bar to find Leslie there again. She asks him about what's come over her and he explains to her that she's a cat, just like him. Of course, she doesn't believe him, but can't shake off the feeling that some of what he says resonates deeply.

While in the bar, two men get into a fight over a girl: A tough-looking black guy (Ray Victory) and the girl's wimpy boyfriend (Blake Palmer). The boyfriend backs out and Ray gets the girl (Lauryl Canyon), as they get it on right there for everyone to see. This is another charged scene, with the ever-passionate Victory seeming very excited about getting it on with Canyon. While they get it on, Jennifer has the feeling come over her again, and she does a bar dance, which looks a little silly at first, but then appears to perfectly fit with the mood of the scene. Gentry is one hell of a dancer too.

The next day, Jennifer talks to her model (Veronica Hall) about the stranger and being a "cat". They argue about who is the best "cat" before Derek Lane comes out for his shoot. This is the one scene that drags the movie down somewhat. It really has no purpose, and Derek Lane looks pretty dopey, so it's not a very good scene. The one highlight, however, is the cumshot: Derek actually shoots his load so far that it leaves the frame!

Back at the bar, Leslie, who tells Gentry that he is in fact the "king of the cats" has a challenge for her. Two challenges, actually. One is that she must pleasure the other queens (Megan Leigh, Nikki Knights); the other is that she must hunt the most dangerous of all creatures: Man. First things first, the g-g-g scene is unbelievably hot. No toys, no vibrators, just hot, unbridled passion. Jon Martin and Skip (which appears to be a pseudonym for Blake Palmer) jack off while watching and they seem more than pleased. Perhaps they're supposed to symbolize the viewing audience, :). In the second scene, Gentry hunts Stefan, who has returned to her. As they enter into the bar, everybody clears out as they get it on on top of the bar. It is a pretty good scene, with Gentry doing her infamous "quivers" as Joey has a moment of passion with her. Joey's cumshot itself is pretty impressive. He shoots a pretty good load and it goes back pretty far, just managing to miss his face, thankfully for us. For the actual ending itself, I'll let you see for yourself.

If anybody is looking for a moody, erotic film (and one that would be appropriate for couples), this is it. It does have a certain jerk-offable quality about it, but is also good for someone just looking for a good story. As usual, cinematographer Jack Remy's moody photography is esepcially effective, as is Bill Reid's jazzy blues score. Leslie himself, besides being probably the best actor ever in adult, really seemed to knwo exactly what he wanted in this movie. The cast is perfect, the sex is sizzling, and the scenarios are brilliant. Sex in this movie is symbolic of the animal instincts inside of us. No director has ever been able to use symbolism in porn as well as Leslie, for he doesn't force it down our throats, but lets it empower us completely.

Overall, one of John Leslie's best films. It was followed by "Curse of the Catwoman", which is just as stylish, but not nearly as substantial. Good back-to-back viewing with "The Chameleon" (review coming soon).