"Lesbian Deception" for Sweetheart Video might serve as Adult filmmaker Nica Noelle's audition tape for earning a mainstream gig, though that seems impossible after toiling for a decade directing over 300 XXX features.
It's a well-written and acted drama that I found captivating, above and beyond the usual high-level of quality of a Noelle release. Rayveness stars in a dual role that is perfect for the legendary actress: she's an aging acting coach, living with her young lover Samantha Ryan, who is on the verge of breakout stardom as a mainstream actress.
Ray's unfortunate jealousy leads her to convincingly put on a disguise (she is well-versed in the art of makeup) and dark wig to seduce and entrap Sam at a party, just to prove to herself that the girl is susceptible to such infidelities. This leads to tragic results, all of it smoothly orchestrated by Nica in a most satisfying manner.
Unlike many a claustrophobic (often all-interior scenes for humping) Sweetheart video, exterior scenes at the beach help open out the story. Supporting cast is fine, including a satisfying subplot of pal Michelle Lay rebelling at the oppressiveness of her partner Avy Scott, as well as usually avant-garde lesbo Dylan Ryan (no relation) cast instead in a more sympathetic role as confidant who has a lover of her own, Kim Kane in a throwaway role.
Chief fault here is the difficulty to suspend disbelief as Sam doesn't recognize Ray in disguise, a crucial element in establishing the story's central premise as well as a later key plot twist. I liked the fact that Nica structured the transformation inside out, in that Ray as acting teacher Natasha has old-age makeup and frumpy wig, but becomes glamorous and beautiful Rayveness as her fictional creation, but it is impossible to believe that Sam could be fooled in that she has sex with her assumedly many times before and after the switch, and hardly would not recognize the partner's body and lovemaking. Even in a mainstream film that would be tough to swallow, but in XXX format with absolutely nothing left to the imagination it beggars belief.
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