The Defiance of Good a/k/a Defiance (1974)

The Defiance of Good a/k/a Defiance (1974)

Routinely regarded as one of the finest adult movies dealing with the murky subculture of sadomasochism, although the inflicted violence takes places on a far more cerebral rather than physical plane, there has been an ongoing debate as to the film’s authorship. While ultimately credited director Armand Weston was unquestionably involved, the likes of producer Jason Russell (easily the most eloquent of the early free sex advocates, this being the occasion where he pressed still superstar wife Tina into duty as make up assistant for his latest crush, star Jean Jennings, re : my review of Sidney Knight’s The Debauchers), male lead and profusely prolific filmmaker in his own right Fred Lincoln and even Vinnie Rossi, a modestly talented hack whose standout effort remains his 1984 swoony sudser Desire with Tamara Longley and Herschel Savage as starcrossed lovers, have all claimed responsibility at various stages. Weston was that porn peculiarity, not unlike the legendary Radley Metzger a/k/a “Henry Paris” on explicit endeavors, a creative genius who took his merry time to develop each project to the proximity of perfection. His most highly regarded work remains the 1978 classic Take Off, a glossy adult rendition of Oscar Wilde’s The Picture of Dorian Gray and a film that, ironically, actually failed to recoup its massive investment during its initial theatrical run ! Mainstream (well, horror) audiences should owe him a debt of gratitude for an unforgettably eerie little cult item entitled The Nesting starring former ’40s femme fatale Gloria Grahame as the spectral madam of a haunted brothel.

Syrupy sweet little teenager Cathy Taylor (Jennings, allegedly 17 at the time and future girlfriend of Hollywood character actor Joe Spinell, soon to become hot shit himself as the star of Bill Lustig’s pervasively perverted protoslasher Maniac, during the shooting of which he took co-workers to see his paramour’s performance in the Mitchells’ Autobiography of a Flea at the porno palace next door, but that’s another story…) has been caught in flagrante taking her first hit of cocaine with bad influence best friend Susan (Day Jason, the running gag secretary suffering frequent facial cum shots in Metzger’s Private Afternoons of Pamela Mann) by her strict religious mom, played by Mink Stole lookalike Carole Holland who nurtured another hardcore headcase in Fred Donaldson’s Sometime Sweet Susan. Always the alarmist, with dad (one ominous “Roderick Usher” !) conveniently spineless, she has her daughter committed to Eastwood General Hospital’s psycho ward for observation. Watch out for a blink or miss cameo by bisexual mainstay Marc Stevens and second string starlet Sandy Foxx from Roberta Findlay’s Angel #9 and Slip Up as inmates in the deliberately disturbing dayroom sequence.

Forbidden any contact with her pathetic parents, Cathy’s thoroughly submitted to strip search and bunkbed group rape, events of which her unsympathetic physician Dr Hirsh (Kevin Andre, one of porndom’s finest unsung character actors) remains blissfully oblivious. Softspoken visiting medic Dr. Gabriel (Lincoln) offers her a chance of escape from this hellhole should the folks agree to her being committed to his private clinic. This is where the film changes tone radically from gritty to downright Gothic and the S&M overtones really kick in as Cathy’s ordered to obey Gabriel’s stringent rules, no matter how apparently arbitrary. Her initial resistance earns her a sound whipping from aptly named Nurse Kane (Brit bint Heather Ellis, a fleeting fuckstress also appearing in Claude Goddard’s Teenage Stepmother and Sid Roth’s Street Girls of New York) who’ll force herself on the shackled Cathy, a pivotal moment transforming her from soppy victim to an active participant in her own submission.  Immeasurably aided by the sophisticated chiaroscuro cinematography, courtesy of Stephen Colwell who shot most of Chuck Vincent’s early R-rated efforts like Blue Summer and While the Cat’s Away, exquisitely erotic moments ensue with the accent on educating the ignorant about the seductive and highly ritualized nature of a certain formalized form of S&M rather than (literally !) hitting them over the head with a tireless tirade of floggings.  After all, that would just scratch the surface that often precludes people’s understanding that this sort of relationship is basically about trust and consequent surrender between equal yet role-defined partners.

Arguably the most successful S&M and B&D (that’s bondage and discipline to the uninitiated) themed erotica – think Just Jaeckin’s glossy Story of O, Damiano’s mirror image The Story of Joanna and Robert S. Kinger’s The Naughty Victorians a/k/a A Man With a Maid – pleads for an open mind in lieu of preaching to an already long converted choir. Defiance‘s displays of deviance play on an entirely different level than those found more commonly in Shaun Costello’s one day wonders like Daughters of Discipline or Girl Scout Cookies which either repulse or rapidly degrade into devil may care silliness, mirroring an approach he would be the first to admit. Cathy’s education close to complete, following a showstopping threeway with a barely recognizable Jamie Gillis and Sonny Landham, she’s given the choice of freedom without possibility of ever returning or staying on and indoctrinate the new arrival. While detractors will rush to blame the girl’s decision on a major case of Stockholm Syndrome, it fits right in with the message Weston’s laboring to convey, with a suitably nasty twist in its tail for good measure.

A surprisingly mature masterpiece in both form and content, this movie deserves considerably better than its persistent off color reputation would suggest, frequently as well as unfairly lumped together with the remainder of ’70s roughies. Fuck film fans salivating over the prospect of extensive graphic physical harm inflicted upon its teen victim heroine should come away deeply disappointed as psychological rather than corporeal duress gains the upper hand through narrative progress.  Thrown to the wolves on her first fornication foray, Jennings is nothing short of amazing, her every reaction completely credible. The unseasoned actress, who would briefly beget notoriety in Zebedy Colt’s characteristically offbeat Virgin Dreams and Bill Milling’s all star Virgin Snow(both predictably trading on her youthful appearance), has rarely received appropriate credit for covering the gamut of emotions the part required with such heartfelt honesty no more dyed in the wool dirty movie diva could have hoped to match. As mentor and tormentor, Lincoln supports her with suitable gravitas, delivering his most disquieting achievement since portraying the indelible character of Weasel in Wes Craven’s official i.e. non-adult directorial debut Last House on the Left.

Directed and written by Armand Weston. Produced by Jason Russell for S.P.S.C. Productions. Photographed by Stephen Colwell (as Steven Todd). Music by Jack Justis (as Jack Mallow). Edited by S. Kraig Jenson. Starring Jean Jennings (Cathy Taylor), Fred Lincoln (Dr. Gabriel), Day Jason (Susan), Heather Ellis (Nurse Kane), Turk Turpin (Nurse), Kevin Andre (Dr. Hirsh), Harding Harrison (Dr. Kraus), Roderick Usher (Mr. Taylor), Carole Holland (Mrs. Taylor), Jamie Gillis, Sonny Landham & Alex Mann (Dr. Gabriel’s Patients), Sandy Foxx & Marc Stevens (Asylum Inmates), Jason Russell & Alan Marlow (Rapists). Running time : 72 minutes.

Delectable Day Jason proves the fly in the ointment at Defiance‘s cleverly convoluted climax

By Dries Vermeulen