Three women are driving cross country to Fort Laramie, Wyoming for a weekend vacation. While en route the driver, fantasies about the trio being cathouse girls in the old west.
Director Steve Scott relates the absorbing story at a reassuring leisurely pace and makes lovely use of the breathtaking verdant countryside. The three female leads are quite fetching and desirable. The sex scenes are tasteful, yet still passionate and erotic. Tom Howard’s sunny cinematography provides an attractive bright look. The sparingly used gently melodic folksy score does the harmonic trick.
Though hardly adopting a Harlequin romantic novel approach, Coming West is an effective early porn feature told from a woman’s point of view. Story hook is simple: three beautiful women are driving a convertible from Cheyenne to Laramie on vacation. Sandy Carey’s behind the wheel, Staryln Simone’s sunbathing topless in the passenger seat, and Maria Arnold in floppy hat daydreams of the Old West in the backseat. She fantasizes that the trio are whores, left by the roadside in the middle of nowhere when a preacher objects to traveling with them after he finds out they’re on the way to set up a whorehouse in Laramie.
Venturing to a nearby stream, Kitty (Maria) encounters an old flame, cowboy Matt Timber, riding by on his horse. She remembers them making love years ago (a flashback inside the fantasy). Back to the main fantasy, we see an Indian lying by the side of the road, apparently killed by Matt defending the women (also omitted). Matt escorts the other two women to the stream where he makes love to them.
Meanwhile, the handsome Indian awakes, impressed by Maria’s massive boobs, the duo trek to the stream to watch the trio hump and off comes his loincloth. Maria ends her fantasy declaring “Well, you can’t say we didn’t make ‘peace’ with the Indians”.
Languourously paced, Coming West is a very effective mix of softcore and hardcore approaches, including the requisite explicitness but presenting people making love rather than the usual clinical body parts in abstract action. Interior flashback scene is well-lit and the outdoor sex is very pleasantly presented, with the gurgling of the stream on the soundtrack meant to be soothing.
The film is nicely shot with better camera work than one often sees in adult work at this time period. You can see that work went into the different shots. And you can tell that, despite just being a vignette film, the non-sex portions were done with care as well, including the portions where there isn’t a sex scene at that were added just for the vignette. The brief sex scenes look nice and the cast is energetic in them. Scott has managed to work some variety into the scenes and has done well with the limited budget. Coming West is a fun little film that is worth a look.
Scene 1. Maria Arnold, George Peters Scene 2. Sandi Carey, George Peters Scene 3. Sandi Carey, Starlyn Simone, George Peters Scene 4. Maria Arnold, Starlyn Simone, George Peters Scene 5. Sandi Carey, John
m so dummy i dont know how to fuck bitch, m h ppy my brother show me how to tret men i cen tell my bro never work m is little escort my cutumer is come b ck every dey for me but lots cutumer smell b d i remenber i h te this now is the better yes i love when i get humiliete n he be t me rought but he do more money he never tell me the fuck is wife,i do only men
Director Steve Scott relates the absorbing story at a reassuring leisurely pace and makes lovely use of the breathtaking verdant countryside. The three female leads are quite fetching and desirable. The sex scenes are tasteful, yet still passionate and erotic. Tom Howard’s sunny cinematography provides an attractive bright look. The sparingly used gently melodic folksy score does the harmonic trick.
Though hardly adopting a Harlequin romantic novel approach, Coming West is an effective early porn feature told from a woman’s point of view. Story hook is simple: three beautiful women are driving a convertible from Cheyenne to Laramie on vacation. Sandy Carey’s behind the wheel, Staryln Simone’s sunbathing topless in the passenger seat, and Maria Arnold in floppy hat daydreams of the Old West in the backseat. She fantasizes that the trio are whores, left by the roadside in the middle of nowhere when a preacher objects to traveling with them after he finds out they’re on the way to set up a whorehouse in Laramie.
Venturing to a nearby stream, Kitty (Maria) encounters an old flame, cowboy Matt Timber, riding by on his horse. She remembers them making love years ago (a flashback inside the fantasy). Back to the main fantasy, we see an Indian lying by the side of the road, apparently killed by Matt defending the women (also omitted). Matt escorts the other two women to the stream where he makes love to them.
Meanwhile, the handsome Indian awakes, impressed by Maria’s massive boobs, the duo trek to the stream to watch the trio hump and off comes his loincloth. Maria ends her fantasy declaring “Well, you can’t say we didn’t make ‘peace’ with the Indians”.
Languourously paced, Coming West is a very effective mix of softcore and hardcore approaches, including the requisite explicitness but presenting people making love rather than the usual clinical body parts in abstract action. Interior flashback scene is well-lit and the outdoor sex is very pleasantly presented, with the gurgling of the stream on the soundtrack meant to be soothing.
The film is nicely shot with better camera work than one often sees in adult work at this time period. You can see that work went into the different shots. And you can tell that, despite just being a vignette film, the non-sex portions were done with care as well, including the portions where there isn’t a sex scene at that were added just for the vignette. The brief sex scenes look nice and the cast is energetic in them. Scott has managed to work some variety into the scenes and has done well with the limited budget. Coming West is a fun little film that is worth a look.
Scene 2. Sandi Carey, George Peters
Scene 3. Sandi Carey, Starlyn Simone, George Peters
Scene 4. Maria Arnold, Starlyn Simone, George Peters
Scene 5. Sandi Carey, John