Post Star Wars, there was a brief period where there remained a vogue for adult film; not pornography, but serious-minded dramas which reflected the seedy side of life. Saint Jack, Atlantic City, Tales of Ordinary Madness are all quality films that followed on from the mainstream success of Emmanuelle, and reflected a desire to see believable characters on the screen depicted with a new sexual frankness. Matthew Chapman’s debut film Hussy, like most of the above mentioned films, was rapidly forgotten about post 1980, but now resurfaces to demonstrate that it’s something of a neglected classic, not least because it features brilliant performances, not just from Helen Mirren in the titular role, but from the whole ensemble cast.
Mirren plays Beaty Simons, a call girl who hangs around a bin-juice encrusted urban nightclub with other prostitutes like it’s a grubby knocking-shop, oblivious to regular, grand performances by disco pioneer Patti Boulaye, who seems to be previewing material for the Royal Variety Performance. Beaty has a past and a child, but still finds idealism enough to fall for chauffeur Emory (John Shea), who seeks to take her away from the squalor she lives in and share the similar squalor that he lives in.
After some fairly raunchy sex scenes, the plot takes over as Emory fends off Max (Murray Salem) an outrageous gay criminal with a plan, while she bristles at the intrusion of her old pimp Alex (Paul Angelis) who moves in with them. Both Salem and Angelis give extraordinary, larger-than-life performances here, barely giving the leads any space to work. Indeed, the second half of the film hardly features Mirren at all, but focuses on a deal gone wrong that leads Max and Alex into a bloody mess. Of course, Mirren towers over the material as indeed you might expect; she’s been a brilliant performer since the 60’s, and when she gets a chance, takes it.
Hussy is something of a blot in Mirren’s esteemed copybook, regarded by many as a crummy sex-movie that’s borderline exploitation. And yet, if you’re broadminded enough, it’s also a very good film indeed, and catching Chapman on his way up (a descendent of Charles Darwin, he later wrote Color of Night and Runaway Jury) while also giving Salem something substantial to do; Salem later wrote the screenplay for Kindergarten Cop. Shea has proved to be a dependable actor as well, making Hussy something of a hothouse for emerging talent. If you can ignore the hideous 70’s décor, music and attitudes, it’s a powerful little B movie that’s worth braving the ignominy of having Hussy on your search history; for my US readers, Hussy is a British term that suggests a person of unreliable morals.