It's impossible to evaluate an Andrew Blake film in the usual way. For one thing, there aren't set "scenes" where people fuck or dildo each other and then move on to other partners and/or other plot points. There are no plot points in a Blake film, and for the most part, the action is a number of very beautiful women hanging out in exotic locations, pleasuring themselves and/or each other, accompanied by some sort of mood music by Raoul Valve, from classical to his favorite, cool jazz.

Which isn't to say there isn't an unusual quality or two to this particular film. For one thing, Blake has taken the daring step of casting one of the most recognizable voices in porn, Chloe, as the voice of Aria Giovanni, who's supposedly obsessed with adult actress Anita Blond, who's apparently still part of the European porn scene. Considering the vast physical differences between Chloe and Giovanni, perhaps Blake wants viewers to ruminate on that counterpoint - but chances are, they're simply going to finish watching the tape and say, "Where the hell's Chloe? I heard her; didn't see her."

But that quirk aside, the rest of Blond & Brunettes is pure Blake: Busty women in fetish costumes - lots of leather, fur, lacy underwear, flimsy negligees, push-up bras and net - and either in fetish scenarios - masked parties with floggers, blindfolds and ropes, and pony girl training - or strolling the streets of Rome, often shamelessly nude (thank goodness), and making themselves comfortable in its hotel rooms and apartments. The camera lingers over breasts and pussies, the caressing of the former and the fingering of the latter, and female faces in ecstasy.

Needless to say, the cinematography is near-flawless, whether in color or black-and-white - Blake is a master of texture - and the editing so seamless, the imagery so compelling from one scenario to another, that before the viewer notices, an hour-and-a-quarter has passed.

But as much as this film is a feast for the eye and the imagination, it's definitely meant to be part of an erotic experience as opposed to a vehicle that hammers home the typical pounding climaxes meant to get the viewer off. The film isn't so much hot as that it creates heat. As such, it's the ultimate "couples film" - but don't be too surprised if colleges add this and several other Blake productions to their cinematography courses. And also as such, think Best All-Sex Film, Best Director, Best Cinematography, Best Art Direction and Best Editing.

(Incidentally, the credits, besides omitting Kelly Havel, claim that Ava Vincent and John Decker are in the movie. If so, they must have been hiding behind a pillar somewhere.)