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Director Cecil Howard's "Firestorm" is an intriguing blend of family melodrama, neo-noir, and steamy adult scenes. Released in 1984, the film stands as a defining example of 80s porn, offering a unique mix of storytelling and eroticism. While it has its share of flaws, "Firestorm" is an entertaining ride, especially for fans of the era's adult cinema.

The film's central plot revolves around a ghostwriter, Ken (played by Eric Edwards), who is hired to write a biography of a family matriarch, Kay Parker. However, the real draw is that Ken is also an incredibly skilled lover, leading to an underground network of wealthy women seeking his services. This intriguing premise sets the stage for a series of scorching sex scenes and a healthy dose of melodrama.

One of the film's standout performances comes from Rikki Harte, who delivers an amazing presence. Harte's interlude, where they break the fourth wall to declare that "my daddy was a master thief," is a memorable moment that adds a touch of fun and surprise to the film. It's an unexpected twist that enhances the overall enjoyment of the film.

The cinematography in "Firestorm" is lush and artistic, with clearly stylistic lighting choices that enhance the on-screen antics. The sound quality is also commendable, with consistent sound levels and original songs created specifically for the production. These technical aspects elevate the film and showcase Howard's attention to detail.

However, the film is not without its shortcomings. The non-linear narrative can be confusing, and the story feels convoluted at times. While the artistic merit is undeniable, there are some technical mishaps, such as lighting inconsistencies and a visible boom mic in a few scenes. These issues detract from the overall immersion and could have been addressed with more careful editing and attention to detail.

Despite its flaws, "Firestorm" remains a significant entry in the adult cinema landscape. The ensemble cast, which includes notable names like Kay Parker, Sharon Mitchell, and John Leslie, delivers strong performances that elevate the eroticism and storytelling. The film is universally acclaimed as one of the last great X-rated movies to be released theatrically, and it's easy to see why.

In conclusion, "Firestorm" is a fun and fearless foray into 80s adult cinema. While it may not be perfect, it embraces its melodrama, showcases stunning visuals, and delivers on the steamy scenes. Rikki Harte's performance is a highlight, and the film's unique blend of genres makes it a memorable watch. For fans of vintage erotica and those seeking a different cinematic experience, "Firestorm" is definitely worth checking out.

FIRESTORM represented an opportunity for talented adult filmmaker Howard Winters a/k/a "Cecil Howard" to do pure soap opera rather than the convoluted psychological explorations – such as NEON NIGHTS, SCOUNDRELS and SNAKE EYES – he and his regularly contributing writer Anne Wolff (a/k/a "Anne Randall") were justifiably famous for. The result proved one of their greatest collaborations : a multi-layered melodrama told in then revolutionary non-linear fashion, liberally flashing forward and backward in time (a technique since surpassed and taken to dizzying extremes by motion pictures and TV series alike), with memorable characters portrayed with all the professionalism this superstar cast could muster.

Down on his luck author Kenny Cushing (veteran performer Eric Edwards doing some of his best work along with the "Harry Crocker" movies he did for Ron Sullivan) finds himself hired by ludicrously wealthy Magda Balcourt (class act Kay Parker, the reluctantly incestuous mom from Kirdy Stevens' TABOO series) to ghost-write her autobiography. Along with husband Lee (the inimitable John Leslie), she's apparently "rolling in oil" though their involvement in shady dealings with powerful people will cost them dearly before the film's over. Installed in the Balcourt mansion by Magda, who has plans other than dictating her life story and refuses to take no for an answer, Kenny sneaks out in the middle of the night for drinks at a bar where his former girlfriend Liza (the scene-stealing Victoria Jackson a/k/a "Tina Marie", unforgettable star of Kemal Horulu's NEVER SLEEP ALONE) works as an exotic dancer. Their relationship ended abruptly when Ken caught her cheating in the awesome award-winning "red scene" with George Payne, Sharon Kane and Michael Bruce, Kane's then boyfriend and an unfortunate HIV casualty since. The passion's quickly rekindled though, with Liza seeking to add some spice to their already incendiary lovemaking by forcing Kenny to phone the Balcourt residence, only to find himself unwittingly talking dirty to the family's blind daughter Claire (beautiful blonde Joanna Storm in a heartbreaking career turn). A flashback informs us that Claire's blindness occurred as a result of catching her mother seducing her boyfriend Louis (Sean Elliott, also in Ron Sullivan's MASCARA and THE WIDESPREAD SCANDALS OF LYDIA LACE) on her sweet sixteen birthday ! The unassuming catalyst who propels the plot to its inevitable conclusion turns out to be Lee's secretary and mistress Barbara (German starlet Rikki Harte, also in Howard's SPITFIRE and SNAKE EYES), a bungling burglar attempting to make off with her employer's secret ledger detailing all of his financial wrongdoings.

While complex, the intertwining story lines shouldn't provide much of a challenge to anyone willing to devote the necessary attention to the proceedings as everything fits together quite logically in the end. Even the title is explained by Edwards to interviewer Veronica Hart (unfortunately in a brief non-sex role) as a poetic term – well, he is a writer after all – for the overwhelming love he felt for Claire with whom he shares a brief three-way romance under Liza's watchful tutelage. Though the movie stands perfectly well on its own, certain characters (like society siren Elise Paul, played by Sharon Mitchell, instrumental in directing Kenny towards the Balcourts) seem somewhat underdeveloped at this stage, an error amply rectified by two sequels. Production is purely professional in every aspect with glowing cinematography and exquisite lighting, razor-sharp editing that keeps the pace up and running even at 105 minutes in length and one of the finest theme songs (D'Arcy Brooke's hauntingly romantic "Coming Back to Me") ever bestowed upon an adult film.

This melodrama from the legendary director Cecil Howard finds writer Eric Edwards getting involved with the scandals and skeletons of a family when he's hired to write a biography of matriarch Kay Parker. This one works on all levels. The quality and performances of the story could find this one comfortably scheduled as a weekly series with night time soaps Dynasty and Dallas from the era if not for the hardcore sex. You don't want to miss the sex either, scorching hot with a dynamite cast, this is another homerun from Howard and shows what the adult genre is capably of when it's not trying to shock.