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The Satisfiers Of Alpha Blue Box Cover
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AVN Top 500
This classic adult movie is quite ambitious for an adult film in the science-fiction format, and it succeeds very well. The setting is a future society where the normal everyday aspects of life have been swept away, leaving little else for people to do, except engage in erotic play; literally a 'Brave New Sex World.' It's a space age resort, called Alpha Blue, where the Satisfiers and their guests raise sex to a fine art-and you, too, will learn to enjoy sex in a new dimension.
The characters are so appealing and the girls are so sensual and gifted at stimulating the erogenous zones that the movie is, without question, an erotic gem not to be missed!
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  • Scene 2 - 12 mins 50 secs


     
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  • Scene 3 - 10 mins 57 secs


     
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  • Scene 5 - 9 mins 33 secs


     
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  • Scene 6 - 19 mins 34 secs


     
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  • Scene 7 - 4 mins 38 secs


     
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Comments on The Satisfiers Of Alpha Blue


Editor's Review


Until the advent of affordable CGI, the estimable Michael Ninn being something of a trailblazer in this respect (think LATEX, SHOCK and beyond), sex mixed with science fiction hardly seemed the obvious option, budget-wise. Another reason why so few of these combinations were successful was the fact that they sought inspiration in some of the more puerile genre classics such as STAR WARS (spawning Ann Perry's STAR BABE and Bob Vosse's SEX WARS), E.T. (which begot Ron Jeremy's E THREE : THE EXTRA TESTICLE!) and SUPERMAN (resculpted into Joe Sherman's enjoyable Desirée Cousteau vehicle MS. MAGNIFICENT) whose naive stance clashed with those aspects that put the adult into adult movies, resulting in a kind of uneasy hybrid failing to fully satisfy anyone. Clearly, it takes a genuinely talented filmmaker to make such a crazy combo work. By the early '80s, Gerard Damiano had little left to prove. Acknowledged as one of the genre's best and most innovative directors, he may have been looking for a challenge to test his mettle. SATISFIERS OF ALPHA BLUE proved to be his most ambitious project in many a blue moon, the filmmaker displaying sufficient ingenuity to overcome the by now familiar stumbling block of financial restraint. Sort of a "Brave New World" or "1984" in fornication film terms, Damiano's bleak view of a totalitarian future bears comparison to his revolutionary vision of hell in that other all time classic of his, DEVIL IN MISS JONES. Just how quickly times can change is depressingly illustrated by the director's revisiting the territory with the cheapskate shot on video sequel RETURN TO ALPHA BLUE only a few years down the line, making one appreciate the in every way superlative original all the more.

Somewhere in the 21st century, our planet left desolate and bereft of natural splendor in the wake of World War III, survivors are living in closed community bases such as Alpha Blue. Mankind's sole remaining pastime is à la carte penetration, women now utterly subjugated to every conceivable whim of the so-called stronger sex. Girls are strictly identified by number and place within hierarchy, ranging from Relaxers ("manual relief" only) via Satisfiers (the works) to Hostesses, who rest on their undoubtedly well-earned laurels and advise the menfolk in their choice of bedmates. Young Griffin (a decidedly hunky Herschel Savage) has no qualms about this state of affairs. His every desire's immediately catered to in a cool and professional manner, several times a day. He has never known differently, unlike his older best buddy Algon (yet another stunning turn from the magnificent Robert Kerman a/k/a "R. Bolla") who has known love in the past and can't reconcile himself with the emotionally void present, wish fulfillment notwithstanding. He wants to be swept off his feet all over again, like in the good old days, and detects a secretive kindred spirit in Satisfier Diana, played by the formidable Lysa Thatcher – freshly canonized courtesy of Cecil Howard’s NEON NIGHTS – in one of her most accomplished performances. A cute aside has Algon trading in his sex license on the black market in return for a roast chicken and a bottle of wine, more traditional means to wow your woman indeed! The snake in the grass proves Diana's closet feminism. She's comfortable with her station in life which enables her to act on urges her gender has been made to suppress for centuries. While Algon ultimately manages to convince his beloved of the sincerity of his intentions, the matter of whether this will actually prove beneficial for Diana is left tantalizingly dangling in the air, suggesting she may simply be trading one set of prison bars for another.

Women's tasks initially appear demeaning, reflected in an early scene where Griffin is worked over by three eager ladies (Lysa, Jody Maxwell and Hillary Summers), but gradually the focus shifts to female rather than male desire, with the intricate lighting going from harshly clinical to seductively glowing. Gaining strength and assertiveness, Diana mirrors the opening foursome in a later sequence by employing her sensual skills on a trio of hung hunks, camera largely ignoring their faces (for the record, they're George Payne, Michael Morrison and "Mal O'Ree" a/k/a Hustler critic Scott Mallory) as the girl gleefully drains them of their life force. Over the film's second half, men fade into the background altogether, culminating in an explosive rectal invasion with redhead Coral Cie – she did a memorable threesome with Mike Ranger and the late Kathy Harcourt in Fred Lincoln's SAME TIME EVERY YEAR – where only the servicing stud's basic equipment is shown. Eagle-eyed cock-watchers may be able to identify the guy as former gay porn icon Payne. Sex is practically wall to wall, even during expository dialog there will usually be something juicy going on in the background. Indomitable Annie Sprinkle, a goddess among mere mortals, demonstrates how she got her stage name – literally sprinkling people with love – by emptying her bladder on a grateful Mallory in a spicy sequence (these days unfortunately heavily trimmed in most available versions) also including foot and high heel worship, some very thorough analingus and creative dildo play. This is immediately followed by the extreme insertion – another fallen to censorship since – performed by weaselly looking Bill McKean from Shaun Costello's PANDORA'S MIRROR and Carter Stevens' TWILITE PINK on laid-back Tiffany Clark, presumably coked out of her skull if persistent rumors are to be believed. If scorching sex can't hold your interest by itself, begging the question why you're watching porn in the first place, I would like to direct you towards an interesting sequence involving the three main Satisfiers (Thatcher, Maxwell and Summers, each a different and distinctive specimen of contrasting womanhood) taking a private moment in their abode decorated with huge screens illuminated with images from their imaginings, Damiano's clever way of adding visual interest in tune with his futuristic vision on an economic scale.

-Review courtesy of DirtyMovieDevotee