Easy isn't just a nickname. For this gorgeous blonde, spreading her legs is a way of life. In her first starring role, Jesie St. James plays Kate, a sex exuding school teacher who cannot resist her slutty manners or the crowds of men who drool at her feet. Whether it's sucking off a student after class, being lured into bed at knife point, or leaving a fancy dinner party for a quick screw, Kate craves raw, passionate sex with every breath she inhales. With excellent appearances by Desiree Cousteau and Mike Horner, Easy is an unforgettable classic. Written by

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bearterritory from United States
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This movie was my favorite Porn movie when it came out. Jessie St James was HOT and was very good in this film. I disagree with the reviewer's statements above about her not being realistic in the movie. The movie is a porn movie - NOT one that is made with acting and writing skills in the forefront of the movie industry. To make negative comments about the acting or the erotic value of the scenes based on the "lack of acting ability or storyline" is ridiculous. This movie was enjoyable and for porn lovers is a MUST-SEE in my book.

Jessie St James made several adult movies in her time and was worth seeing in each of them. If viewers are looking for an adult movie that has a "story line" that is believable and realistic, I think they are kidding themselves about what adult movies are all about.

If you like women that are attractive and exciting to watch and you like to see them having sex with men that are attractive and fit the bill of the story, then this is a good choice for you.

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Dries Vermeulen (Nodriesrespect) from Brugge, Belgium
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The late Sam Weston, brother of popular screen comedian Jack and one of countless Hollywood personalities to shroud his Judaic background - né Samuel Weinstein - will forever be remembered as imitation Italian American adult "auteur" Anthony Spinelli. Something of a transitional title in his expansive body of work, this ranks among his all time best, marking the end of his economic era (the "Wes Brown" period, though littered with additional aliases) with small cast chamber pieces such as THE SEDUCTION OF LYN CARTER and heralding the arrival of his most fruitful filmmaking stretch with blockbusters SEXWORLD and TALK DIRTY TO ME. Containing characteristics of both artistic extremes, EASY hearkens back to earlier examinations of female sexuality including the unjustly overlooked Mimi Morgan showcase THE FIRST TIME but disrupts their Spartan set-up by widening his scope to encompass outside influences that shed light on the anti-heroine's plight and motives. Not a first for the director who had already painted a complex canvas of cause and consequence in 1976's CRY FOR CINDY but EASY was to implement the habit.

The film also marks the beginning of not one but two beautiful as well as mutually beneficial friendships. Starlet Jesie St. James had but a few minor carnal credits to her name when she caught Weston's eye and he was to mold her Svengali-style into his movie-making muse. Though still in her twenties, she projected a maturity well beyond her years which found her frequently cast as a disenchanted thirty-something, kind of a capsule description of Easy's Kate Harrison. Another fortuitous meeting took place as Playgirl magazine's upcoming Man of the Year Howie Gordon (soon christened "Richard Pacheco" by Sam's son Mitch) joined the cast. Already a serviceable light comedian, he would explore far darker territory at Sam's behest. He's genuinely unsettling as the creepy kid barely out of high school, back to settle the score with his unattainable teacher.

For a "woman's picture" centered around St. James's put upon schoolmarm, Easy contains surprisingly edgy elements that might have caused the material to capsize into misogyny in lesser hands. Leaving her employment after two successive indiscretions, the psychotic Pacheco coercing her into mean-spirited follow-up upon learning of her furtive fellatio on his friend Dan Howard (from Patrick Wright's R-rated Hollywood HIGH), she embarks on a quest for erotic fulfillment hoping this will lead to romantic bliss with a kindred spirit. Low on self esteem, she pretty much throws it down with any guy giving her the once over. Occasionally this works out well, leading to mattress-searing sex with blind piano tuner Ken Scudder with a cute LAST TANGO IN Paris nod thrown in for the highbrows. At any rate her promiscuity puts her past polite introductions with broody bestselling author Victor, another knockout performance by fascinating Jack Wright, an actor supposedly stunted for in explicit endeavors although he definitely does the dirty with Jesie in their rooftop terrace romp. Temperamentally suited to one another, Kate and Victor move in together and all seems rosy for a while. Since all men are heels, Spinelli pulls out the rug from under her by having the loathsome paramour sick his lesbian pal Janet on her by way of break-up ! A memorable cameo by Georgina Spelvin, latter's all sweetness and smiles when she comes calling, showing her true colors once she's got a foot in the door, tearing into the stunned into submission Kate for one of the superlative Sapphic scenes ever shot. Not to worry though as Kate confides at film's fade-out to best friend Ann (under-used Desirée Cousteau) having met another man of her dreams in impossibly youthful looking Mike Horner, yet to become "Don Hart". Naturally, he informs her post coitus that he's going back to a wife she never knew existed in the first place. Poor pathetic Kate's all alone again as voices from the past fill the soundtrack.

Helped by colorful cinematography from an eager young upstart named Jack Remy who was to emerge as one of the industry's ace DoP's in years to come, EASY effortlessly rises above occasionally questionable material through Spinelli's sensitive handling and uniformly excellent acting. Jesie's back-breaking turn remains one of the Seven Wonders of Sex Cinema, bringing out an emotional complexity that's not always there in the writing, sketchy screenplay attributed to Jack Livingston who wrote Bob Vosse's JEZEBEL. She stays firmly in character throughout the sex scenes which forces them to add to rather than interrupt her performance. It's doubtful that the director ever matched the level of sheer intensity he achieves with ample assistance from his admirable leading lady. The movie temporarily runs out of steam only when focus shifts away from Kate's character during a drawn-out dinner party with Cousteau (fresh from Alex de Renzy's PRETTY PEACHES and yet to catapult to super-stardom) and late lamented Laurien Dominique batting well below average with a pair of no name studs of little apparent appeal.

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tua04778 from United States
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Not even thirty people have seen this movie at the time of this post, and that is probably a good thing. Regarding the movie itself, however, it is interesting to see how the film is somewhat of an "anti-porno." A typical pornographic film is supposed to sexually arouse the viewer through allowing the viewer shameless indulgence in the vicarious experience of something that argues for itself, "something" in this case being sex. This film, on the other hand, depicts the sex scenes in a way as devoid of eroticism as sex can be depicted on film. In the end, the film holds that Kate's sexual promiscuity and caprice have essentially destroyed her life. I particularly like how there is practically no information whatsoever given about Kate's male (and one female) partners, especially the guy with whom she goes to the dinner at which she has sex with Victor. Right after laying the piano tuner, Kate is suddenly at this party with a man that she says asked her to marry him. The film has few coherent transitions, but this is appropriate enough, given the sleazy and "easy" nature of the titular character. Nevertheless, the film's shortcomings, however few, are far too egregious to overlook. First and most obvious is that the entire film seems to serve merely as a vehicle for what I doubt are intentionally unerotic sex scenes. We see conventionally filmed sex sequences acted by unusually unattractive (i.e., balding, oddly shaped, etc.) actors, we get the music that purports to turn us on, and with Kate we get screaming that, although probably indicative of pleasure for her, just ends up being painful for us. This ambiguity of the film's purpose provides an unstable base on which to build anything of value. Second, we get disjointed narration that just comes off as seeming tacked on in the editing process to provide a more cohesive flow for the film. First we hear Kate reciting her letter of resignation as a teacher, followed by her employer's (principal's) response letter being read by him. Flash forward past some perfunctory yet unnecessary narration about Kate initially going to Victor's house, and we get Kate rhapsodizing on how happy she is being with Victor. We then find out that this narration was Kate not speaking to us as an audience, which it was (and therefore our intelligence is insulted), but rather Kate telling this "story" (how much of the events of the movie she is recounting we do not know) to a friend of hers that came out of nowhere. The friend, who has the worst performance in the entire film, gives some perfunctory lines, and Kate follows this by droning on about some background information that it is too late in the film for us to care about. The third and last major problem with the film is Kate's last partner's absurd statement at the end of the film. He tells Kate, with whom he has been living for some time, to stop looking for a house for the two of them to buy, because his wife is returning to him from a three-month trial separation. The ending that follows this is reasonable, logical, and appropriate enough (and the film probably would not have worked with any other ending), but this reason for Kate's boyfriend leaving her just leaves us stupefied that his reason for leaving her could not have been just a little less, well, stupid. Where the film succeeds best is in showing us the bleak despair of sex as escapism in the context of a minimalist character study. Where the film fails most severely is in not letting us know if this really is the film's purpose.

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bjoern-melzer-1 from Germany
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The movie starts with a story about a teacher who has sex with a pupil, then with a friend of his and quits her job afterwards. Then the rest of the script seemed to have get lost or something, because after this the plots revolves around a woman who just had a divorce and is looking for love. The details of this second, well, 'part' are quite washy and are never getting a clear line going. There are only things which hold the two parts of the movie together - the main actress and her character being forced to sex. Never the less a quite futile attempt of mending the both is made in the end of the picture by a short review of the characters experiences of failing in love. OK, I know, it's a porn and a porn isn't about the story, but in this case the plot is so obviously badly puzzled together, that it is just annoying.

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movieman_kev from United States
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Jessie St. James ("Nurses of the 407th", "Vista Valley P.T.A.", "Talk Dirty to Me") is Kate Harrison, a resigned teacher, whom while jogging, is thinking of earlier in the day when a student got her turned on by making her touch his cock. Upon retuning home she finds a juvenile friend of the student has broken in her house and is waiting for her. He precedes to rape her, but for some reason she loves this. By now, she's cock crazy, having sex with a blind piano student. (leading to the funniest line, as the blind guy orders her to get a stick of butter and nail clippers, she asks why. He responds "Jessie St. James ("Nurses of the 407th", "Vista Valley P.T.A.", "Talk Dirty to Me") is Kate Harrison, a resigned teacher, whom while jogging, is thinking of earlier in the day when a student got her turned on by making her touch his cock. Upon retuning home she finds a juvenile friend of the student has broken in her house and is waiting for her. He precedes to rape her, but for some reason she loves this. By now, she's cock crazy, having sex with a blind piano student. (leading to the funniest line, as the blind guy orders her to get a stick of butter and nail clippers, she asks why. He responds "I want you to put your fingers in the butter and put them up my ass") his delivery of said line was hilarious. Obviously after that Oscar caliber scene, one would think the movie would have nowhere to go but down, and one would be correct. The sex scenes in this one are lacking, and Jessie while having a nice face is a bit flatter then I usually like (she looks to be maybe an A-cup in this film)

My Grade: C-

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AKAs Titles:


Certifications:
USA:X (self applied)