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Misty (Misty Mundae) is in Paris with Tina (Tina Krause), but when they
are sitting together in their hotel's bathtub (naked of course), she
realizes she feels drawn to her sexually, & they soon make out ... but
Tina seems to be shocked, mainly about herself, afterwards. Meanwhile in
New York, Ruby (Ruby LaRocca) ... well, walks around the place, followed
by creepy Billy (William Hellfire). Then she visits her friend, who tells
her she has to go out for a couple of hours, but Ruby should make herself
at home, but always keep the blinds down, since the neighbour is a voyeur.
Ruby of course has nothing better to do than strip to her panties, parade
in front of the brightly lit window (blinds up of course), &
masturbate ... Misty & Tina meanwhile visit a Paris graveyard, where
they are hit upon one of these Frenchmen (Christophe Brier), but somehow
they aren't in the mood for a threesome ... & soon enough, the
Frenchman is strangled by weird Billy (who's no longer in New York it
seems), using a necktie. Back at home, Misty & Tina make out again,
& this time Tina feels much more at ease with her lesbian streak, then
they fall asleep ... until creepy Billy shows up, strangling Misty using
his necktie. Then, rather inexplicably, the film is over. A
very boring piece of erotica, where the camera manages to deliver sex
& nudity in the dullest way possible, as if the cameraman was shoosing
his shots by pure chance rather than trying to show anything interesting.
Plus, every now & again, the camera just fades away when it gets
interesting (which would be ok in a tv movie, but this is supposed to be a
sexfilm, isn't it. That the (scarce) dialogue is incredibly blatant
doesn't help either, & the storytelling is completely off, making
little sense, & the 2 plots are not even connected in the slightest
(other than William Hellfire lurking around in both of them), which makes
one wonder why there is a story in the first place. Director William
Hellfire claimed once that the fiolms of Andy Warhol's Factory were
his main influence, which makes sense regarding his bold abandonment of
cinematic rules. But comparing his dull wannabe-erotica to the (relative)
freshness of the Factory stuff, it seems he should look for
inspiration elsewhere. The Paris scenes by
the way were shot back to back with Donald Farmer's much more ambitious An Erotic Vampire in
Paris, also sharing the same cast. Oh, and by the way, some evidence
suggests that Misty's Secret is actually a cut-down version of
Hellfire's The International Necktie Strangler, that runs about 80
mintues (compared to Misty's Secret's 45), but seems to have little
else to offer apart from Ruby being killed by creepy Billy, too (that's
why International Necktie Strangler).
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