A fluffer is a non-performer (female) whose job it is to get the male performers excited when all else fails. Redhead Brittany O'Connell, in her first substantive role, plays such a woman who fluffs as a means to crack the adult business as an acknowledged female performer.

There have been scads of "behind-the-scenes" videos. Some have been pretty good; some, pretty lame and patronizing. The Fluffer is excellent reality theater, though a little stagey. But, at the same time, it has a certain psychotic edge to it that's disturbing. For instance, in the opening scene when actor Hans Stallion can't get it up for Meo (he eventually does, thanks to O'Connell), director Paul Norman (playing himself) reacts like Robespierre all set with a guillotine. It's not THAT bad, though I have been on enough sets where "non-performance" creates a certain definable air of tension, to say the least. Here, you get the impression that actors are condemned to a Sicilian salt mine for impotence. Oddly, too, sideliners Nicole London and Samantha York share a rubber dick out in the open while all this is going on. Unabashed extracurricular sex isn't something you ordinarily witness on a shoot.

When O'Connell approaches director Pachard about giving her a break, he gets paternal and tells her he's going to show her something "to make her run from this". Gosh only knows what Pachard must think of the women he encourages to take it up the ass.

The sex scenes are the key ingredient of The Fluffer. They depict tempestuously aggressive women who suck dick, balls and asshole with the gusto of ravished arctic wolves as seen in the Nicole London/Tom Byron "on the set" pairing which is raw, undiluted verite.

I'm not and have never been thrilled with the idea of intercutting sex scenes (which happens throughout this vid), but one must allow for a certain dramatic How and exposition.

The acting is a little hyperbolic. Ariana plays a rambling talk box that you'd like to shut up with a mouthful of jockey shorts, but she absolutely manhandles Tim Lake in their pairing. O'Connell's character reminds you of fine Jewish whine: "w-a-a-h, I wanna go to Miami", but she handles click with the practiced wrist motion of a longshoreman.

Keep in mind, though, that this is only Part 1. O'Connell's fortunes, evidently, look up in the sequel. I'm just annoyed "that the boxcover (though fetching) doesn't alert the viewer ahead of time.