HOLLYWOOD HOT TUBS (1984)

Title: HOLLYWOOD HOT TUBS

Year of Release: 1984

Director: Chuck Vincent

Genre: Comedy

Synopsis: A young man vandalizes the Hollywood sign, and is consequently sent by his probation officer to work at his uncle's hot tub business, where he becomes involved in many zany situations.

Within a film history context: Sex comedies released in the 1980s were a common fixture on cinema screens during the decade, with an array of themes and topics explored in this time period. These were a mixture of films with mainly adult protagonists, and others with predominant teen characters, or both. One of the first was Gilbert Cates' THE LAST MARRIED COUPLE IN AMERICA (1980). The study of a middle-aged couple's marriage, and the influence on them of outside unions, gave Natalie Wood and George Segal great roles as the central duo. A teen-oriented spin on sex comedies was provided by THE HOLLYWOOD KNIGHTS (1980), directed by Floyd Mutrux. The adventures of a car club consisting of teenagers during an evening in 1965 was reminiscent of AMERICAN GRAFFITI, but with nudity and sexual situations not present in the latter movie. In retrospect, THE HOLLYWOOD KNIGHTS was mainly notable for the appearances of up and coming actors such as Michelle Pfeiffer, Tony Danza, and Fran Drescher. Joseph Ruben's GORP (1980) was in a similar vein. The antics of teenagers in a Jewish summer camp made up the content of this picture, also with a cast of now-familiar faces such as Dennis Quaid, Rosanna Arquette, and, once again, Fran Drescher. Adultery, on the other hand, was the crux of LOVING COUPLES (1980), directed by Jack Smight. In this movie, a couple cheat on each other with people who are connected, with comic results. 

One of the most recognized, if infamous, sex comedies of the 1980s was Bob Clark's PORKY'S (1981). This tale of high school students in 1954 Florida, highlighting their sexual exploits, and the shenanigans of the eponymous club, was a tremendous box-office success, if critically derided, and led to two sequels. Equally saucy in tone was PRIVATE LESSONS (1981), directed by Alan Myerson. The story of a tryst between a young man and his family's maid was high on sexual content, but made a great profit to its producers on this basis. Blake Edwards' S.O.B. (1981) revolved around a Hollywood film producer who had just made his first flop, and how he tried to rescue both the movie, and his reputation, by turning the picture into a soft-core production. With SO FINE (1981), directed by Andrew Bergman, a man in financial straits develops a style of jeans that become a sensation - pants with the buttock area exposed. In comparison, Richard Brander's MALIBU HOT SUMMER (1981) examined the sexual, and other activities of three young women co-renting a Malibu beach house. The movie is mainly of interest historically, though, as Kevin Costner's film debut. Another film with three female protagonists was WAITRESS! (1981), directed by Lloyd Kaufman and Michael Herz. In this movie, three young women become involved in all manner of raucous incidents, such as battling amorous customers and crazy cooks. Charlie Loventhal's THE FIRST TIME (1981) was about a young film student pursued by young women only too ready to offer themselves to him, but having to put up with his wacky film professor at the same time. 

Taking a leaf out of MALIBU HOT SUMMER was THE BEACH GIRLS (1982), directed by Bud Townsend. Two college friends visit their demure companion who is living at her uncle's beach house, and effectively take it over, hosting wild parties and the like, the quiet young lady eventually letting her hair down in the process. Alternately, Bruce Paltrow's A LITTLE SEX (1982) had a young Lothario almost ruin his marriage with his womanizing antics in this comedy romance. Shades of PORKY'S were evident in THE LAST AMERICAN VIRGIN (1982), directed by Boaz Davidson. A trio of male high-school student indulge in sexual antics with the usual exploits and female nudity thrown in, but with some serious moments interspersed. Akin to this, but with a much more humorous slant was Robert Rosenthal's ZAPPED! (1982). A high school student discovers he possesses telekinetic powers, and uses these to not only exact revenge on some bullies, but also for erotic stunts. FAST TIMES AT RIDGEMONT HIGH (1982), directed by Amy Heckerling, was about the mis-adventures, specifically of the sexual kind, of high school students in a California high school. Notable for making stars of many of its performers, such as Sean Penn and Judge Reinhold, it grossed a healthy profit for its studio. 1983 had a number of films in the sex comedy genre which explored varied themes and topics. 

Sean S. Cunningham's SPRING BREAK (1983) focused upon two young men who go to Florida for their spring break, with associated episodes of comedy, sex, and topless female nudity. Raunchy nostalgia was again on display in SCREWBALLS (1983), directed by Rafal Zielinski. Set in the 1960s, this film was concerned with the antics of several high school students obsessed with a local beauty, and led to two sequels. A definite period atmosphere was evoked by Gerry O'Hara's FANNY HILL (1983). Set in 1700s Britain, a young woman moves from one bed to another seeking not only carnal pleasure but also, happiness, in this erotic comedy. A sex comedy which rang the box office bell was RISKY BUSINESS (1983), directed by Paul Brickman. A young prospective college candidate holds a wild party while his parents are absent, but not everything turns out the way he expected in this insightful movie. Less edifying was Michael Herz and Lloyd Kaufman's THE FIRST TURN-ON! (1983). This movie followed the racy happenings at a summer camp, with lots of sexual content and nudity as per this genre's general tone. More serious was THE MAN WHO LOVED WOMEN (1983), directed by Blake Edwards. A sculptor finds that his need to have women in his life leads him to therapy, and subsequently falls for his doctor. This was a quieter, more subtle addition to the genre, and gave its cast, headed by Burt Reynolds in the lead role, good opportunities to emote. 

Curtis Hanson's LOSIN' IT (1983) once again traversed through nostalgia territory, with four young men in 1965 determined to rid themselves of their virginity, and undertaking the usual escapades these movies followed. Mainly notable for its cast including Tom Cruise, Jackie Earle Haley and Shelley Long, it was a loss-maker for MGM. Another sojourn into teenage frolics was served by JOYSTICKS (1983), directed by Greydon Clark. The move to close a small town video arcade by a businessman elicits anger in its patrons, and they retaliate in a non-violent, but comic manner. As with PRIVATE LESSONS, the older woman/younger man concept was again on show in Lewis John Carlino's CLASS (1983). A sensitive young man studying in preparatory school becomes friendly with a fellow student, who encourages him to find himself. Going to Chicago, he meets an older woman, and begins an affair, but is rocked when he discovers her real identity. MY TUTOR (1983), directed by George Bowers, was another film in the older woman/younger man context. In this instance, a wealthy man employs an attractive tutor for his son, who needs to pass French class to enter university. As with PRIVATE LESSONS and CLASS, the film follows the same formula of an irresistible older woman seducing an eager younger man, with obstacles and misunderstandings placed in their way. HOLLYWOOD HOT TUBS exhibited many of the attributes of the 1980s sex comedies, but had its own distinguishing features.

HOLLYWOOD HOT TUBS was reminiscent of the sex comedies which portrayed a number of characters either indulging in outlandish hijinks to shock others, such as THE HOLLYWOOD KNIGHTS and PORKY's, or that occur to them on account of their involvement in a situation, such as WAITRESS! HOLLYWOOD HOT TUBS is closer in context to WAITRESS! on account of the fact that it was set in a work environment, in the case of HOLLYWOOD HOT TUBS, a company which services hot tubs. Both films have characters who encounter wacky people along the way who cause the majority of the humorous set pieces. With HOLLYWOOD HOT TUBS, though, there is a lead character, a male juvenile delinquent who is placed in the work situation as the main focus, instead of a number of people. The presence of a male protagonist finding himself in compromising positions was also a common thread in PRIVATE LESSONS, CLASS, and MY TUTOR, where the younger man has a relationship with an older woman. In HOLLYWOOD HOT TUBS, it is mentioned that Shawn is a minor, but his union with Leslie, who the film makes out to be older than him, is not in the same league as the afore-mentioned films, whereby considerably older women make a play for younger men. Shawn actively squires Leslie, instead of her pursuing him. Aside from this, HOLLYWOOD HOT TUBS was also of interest for some other features.

Having the action set in a work milieu was refreshing, for the fact that many of the stories within the movie emerged from whom the employees came into contact. Each and every character was well-defined in the hot tub service company, from its owner, to the secretary, to the Lothario manager, and the rookie recruit Shawn. While the main characters could be classified in some ways as stereotypes, they could actually have existed in real life, making them plausible, even if what happens to them is over the top in many instances. It was not a case of people going on holiday, looking for fun and other things in HOLLYWOOD HOT TUBS, as in SPRING BREAK, MALIBU HOT SUMMER and THE BEACH GIRLS, which is an overused device even at the best of times. Another facet of HOLLYWOOD HOT TUBS is worth examining for how it diverts from the other sex comedies.

In many of the films, with ZAPPED!, SCREWBALLS, PORKY'S, and THE LAST AMERICAN VIRGIN in particular standing out, female nudity, men looking at, or spying on unclad women, having their clothing ripped away from them, was a key tenet. Men were largely the aggressors, or dominant here. With HOLLYWOOD HOT TUBS, women play a different role than the men during the course of the movie. The most centered women in the narrative are Leslie and Pam. Leslie likes Shawn, but misinterprets a scene with him sharing a tub with some other women where he was innocent, and snubs him. There is the implication that she is a one woman man, and holds her ground accordingly. Pam indulges in an affair with a younger man, initiating their union, but when he admits his business aspirations were the impetus for the affair, she ends it with him. There is a sense of female emancipation present in both of these stories where the woman seeks equality with a man somewhat missing in the afore-mentioned examples.

In terms of nudity, HOLLYWOOD HOT TUBS does have scenes with topless women, but these women take on the men, assuming a dominant role when they spy on them, or try to seduce them. It is a different perspective on the more powerless women seen in the other films just as eye candy. HOLLYWOOD HOT TUBS throws another wrench in the works with its depiction of homosexuality. Having a virile gay man at a bath house pull into a private room, and seduce, the heterosexual probation officer, was a surprising twist in the movie where many of the women, instead of the men, had an overactive libido. It takes things to whole new level of gender relations that are most unexpected. It implies that a 'real' man can satisfy another man on a sexual level, and bring the nervy heterosexual man 'release', which appears to have occurred to Mr Slate. For these reasons, HOLLYWOOD HOT TUBS is one of the most amusing, complex sex comedies ever made, and a deceptively simple movie with a sting in its tail.

Overview: Chuck Vincent was principally a director of X-rated hardcore pornographic movies, but also had many R-rated features in his filmography during his eighteen year career. His first feature film, VOICES OF DESIRE (1972) was about a young woman who believes she was involved in a murderous cult, hearing voices to this effect. BLUE SUMMER (1973) was a comedy with several teens taking to the road in search of sex and adventure. MRS. BARRINGTON (1974) was a black comedy with a homicidal woman marrying wealthy men, killing them, and ending up with their money. Mr Vincent then tackled comedy again with AMERICAN TICKLER (1977) which spoofed several American movies such as JAWS and KING KONG. Marital comedy A MATTER OF LOVE (1979) focused upon two couples who exchange spouses while on holiday. SUMMER CAMP (1979), on the other hand, followed the antics at a camp which needs financial assistance, the owner hoping former patrons will help him. Less than subtle, though, was HOT T-SHIRTS (1980) where a man in financial strife opts to go down-market by initiating a wet t-shirt contest to lure business to his bar. PREPPIES (1984) revolved around three young women who scheme to prevent several university students from passing their course, thereby making them ineligible for a large sum of money. With SEX APPEAL (1986) a young man sets out to change his life, moving away from his family home, seeking to attract women, but falling into problems trying to increase his sex appeal. Chuck Vincent had a change of pace with the suspense film IF LOOKS COULD KILL (1986). A private investigator is hired to keep tabs on a woman, filming her, but she is murdered, and he is implicated in the offence, later trying to prove his innocence of the crime. 

Mr Vincent took a detour into historical territory with ancient Pompeii on view on WARRIOR QUEEN (1987). Inequity reigns in ancient Pompeii, with slavery a hot bed of corruption, but the titular queen surreptitiously assists the slaves to break free. It was back to comedy for Chuck Vincent with YOUNG NURSES IN LOVE (1987). The sperm of Albert Einstein and Thomas Edison is pursued by Russian agents who want to steal it, and return with it to Russia in this farcical movie. More comedy was on show in SLAMMER GIRLS (1987). Being framed for something she did not do, a young woman is placed in a facility with underhanded staff members. A reporter wanting to assist the woman is also jailed, seeking to make public what is taking place in the prison, and also proving the young woman innocent. DERANGED (1987) had a horror theme, with a woman killing a burglar, and subsequently losing her grip on reality, and murdering anyone in sight. It was back to comedy for Chuck Vincent with STUDENT AFFAIRS (1987), being the story of a crew making a movie about high school in the 1950s. Another film with a humorous slant, SENSATIONS (1988), focused upon two people, one a prostitute, the other a roguish man, who each have half of a lottery ticket. Things become complicated for them as the only way they can collect the money is to marry, and thus present themselves as a couple. 

Chuck Vincent made another thriller with BAD BLOOD (1988). In this moody film, a woman believes her deceased husband has come back to life as her son. Another thriller, THRILLED TO DEATH (1988), revolved around a married couple who became entangled, through his research about swinger's clubs, with a swinger couple who have more to them than first meets the eye. Shifting gender identities were explored by Mr Vincent in CLEO/LEO (1989). A man who falls off a bridge after being shot by a venomous woman emerges from the river as a woman, Cleo, who tries to take over Leo's life, with amusing results. ENRAPTURE (1989) traversed thriller material again, with an actor working as a chauffeur becoming entrapped in murder via his involvement with a woman. Mr Vincent's penultimate film, WILDEST DREAMS (1990), was a comedy about a young man working in an antique store releasing a genie from her bottle, and what happens when she permits him three wishes. Chuck Vincent's final film, SEXPOT (1990), was a retread of his earlier MRS. BARRINGTON, with a woman marrying, and organizing, the imminent death of her moneyed spouses. HOLLYWOOD HOT TUBS was one of Chuck Vincent's best-known R-rated films, and one of his most enjoyable movies.

Chuck Vincent has fashioned an entertaining, humorous motion picture with HOLLYWOOD HOT TUBS. There is a nice flow overall to the film, with Mr Vincent ensuring a sweetness, and innocence in its tone, despite the subject matter dipping its toes heavily into bawdiness in many an instance. Having the action set in a workplace, studying the different characters, their interactions, and with those they come into contact, is where the movie is at its peak. The comic repartee between characters, the one-liners, realizations, all work in a natural manner, without reducing the characters into caricatures. The raunchiness is delivered with ease by the cast, and a lack of self-consciousness. In a related way, the array of comic set pieces have been carefully arranged for maximum impact, with some being genuinely funny, in spite of the heady nature of some of these. While HOLLYWOOD HOT TUBS has some good aspects, there are deficiencies present when the movie is examined on closer viewing.

In seeking to keep HOLLYWOOD HOT TUBS light and bright throughout, this move makes certain plot points and details, which could have been more striking, trivial in retrospect. One understands where the characters are coming from in every way, but the tendency to make them two-dimensional robs them of added depth. Mrs Wright is dependent upon valium for her anxiety, her son Shawn's antics with the Hollywood sign exacerbating this, but it is just treated for laughs instead of the real-life issue it is. While this is a comedy film and it is expected that situations are bound to be sent up, it feels a little hollow. Al Rey, owner of the Hollywood Hot Tubs business, is played with conviction, but not given a private life. It would have been nice to witness a scene where he may talk about this, but it never appears. The character given a more three-dimensional treatment in HOLLYWOOD HOT TUBS is Pam Landers. An authoritative, single businesswoman with a grown daughter, there is a scene which fleshes out her life, and this is the most revealing point in the movie. These more intimate moments, though, are few in the picture. A film dealing with sexual elements and comedy is not by nature very profound, but this was the intention with this movie, being pure entertainment. A rollicking film with some highly amusing passages, HOLLYWOOD HOT TUBS is a fun viewing experience from director Chuck Vincent.

Acting: HOLLYWOOD HOT TUBS has a talented cast who all provide enthusiastic performances, giving the movie a big boost. As Shawn, Paul Gunning has a devilish glint in his eye which makes him entertaining. Neither the innocent, nor an utterly scheming juvenile, his understated acting works. Stafford Morgan gives authority and stature to his role as Al Rey, Shawn's uncle, and the owner of the hot tub business for which Shawn eventually works. As the lively Jeff, working in Al's business, Michael Andrew gives richness to his role as the slightly underhanded, but friendly Jeff. The apple of both Shawn and Jeff's eye, Donna McDaniel, as Leslie, is another authentic performance. The young woman who does not want her heart broken, and puts on a business-like front when it comes to love, Miss McDaniel's young career woman is utterly convincing. 

Remy O'Neill, as Pam Landers, owner of a hot tub business, is the older version of the career woman, but with equal weight. Miss O'Neill's Pam is a more complicated woman who has seen the best, and worst of life, and carries this off in the film beautifully. As Crystal, Pam's daughter, Jewel Shepard has one of the most difficult roles in HOLLYWOOD HOT TUBS. Maintaining not only a Valley girl accent, and keeping her mammaries moving for her screen time, Miss Shepard shines in her comic role. Her chemistry with Remy O'Neill is also evident, seeming like a real mother and daughter. The film's probation officer is played with pushy charm by Mark Costello. Seeming every bit the no nonsense official, Mr Costello is utterly convincing. The last player of note was Rex Ryon as Jesse, Pam's accident prone biker brother. Sounding like Elvis Presley with his Southern voice, and with an imposing physical stature, Mr Ryon makes the most of his role, bringing a vulnerability along with the gruff which is very entertaining to witness.

Soundtrack: HOLLYWOOD HOT TUBS has a number of pop tunes scattered throughout the course of the movie which reflect the nature of the 1980s in which the movie was made. The most prominent was 'Good Radio', performed by Jason Scheff, which is played during the opening credits, and closing credits sequence.

Mise-en-scene: The movie has a very good grasp of mise-en-scene which is reflected in many departments. The use of locations, such as Al's hot tub company, with its office and yard filled with parts, Pam's hot tub business, and the gay bathhouse, to name a few, all seem authentic, and give HOLLYWOOD HOT TUBS verisimilitude. Outdoor location filming is also noteworthy, with the overhead shots of Los Angeles providing viewers with a birds eye view of its milieu. There are also some zany set pieces, such as Edgar Blood's limousine, complete with hot tub in the rear, which are in keeping with the film's wacky nature. Costuming is appropriate to the movie's casual aura, with Pam's party the only formal event in the film, with suits and dresses a definite contrast to the jeans, t-shirts, and more casual attire sported by the cast for the remainder of the movie.

Notable Acting Performances: Paul Gunning, Stafford Morgan, Michael Andrew, Donna McDaniel, Remy O'Neill, Jewel Shepard, Mark Costello, Rex Ryon.

Suitability for young viewers: No. Infrequent coarse language, male nudity, female nudity, adult themes.

Overall Grade: C

Link: IMDB Page

Trailer