THE LAST AMERICAN VIRGIN

THE LAST AMERICAN VIRGIN opens with pizza delivery boy Gary (Lawrence Monoson) finishing his job for the day and making his way, in his company van, to the local arcade. Here he bumps into Karen (Diane Franklin) and is instantly smitten.

Of course, this is something he tries to downplay somewhat with his pals Rick (Steve Antin) and David (Joe Rubbo). They're "cool" - as in, they slick their hair back and have a lot more confidence when it comes to talking to the ladies in the local soda bar. Not that they have much success!

They have, at the very least, made love. Gary hasn't - and is growing desperate. So much so, that when his mates entice three chicks back to their place to "party", Gary has no qualms about trying it on with the obligatory fat, bespectacled one. But even she doesn't want to know.

The night ends in disaster. Still, Gary gets to meet Karen once again when he bumps into her at college. She seems friendly enough, but - horror! - it transpires she has the hots for Rick. The pair get together at a party shortly afterwards, much to Gary's heartache.

For a time, tensions fray.

But then, something happens to Karen that unintentionally brings her and Gary together. It's unfair to divulge this rather major plot point, or share any more information on what happens next. All I will say is, THE LAST AMERICAN VIRGIN suddenly switches gear from being a rather breezy, predictable teen comedy to something far less expected and - in its own way - affecting. It's a jarring move into the final act, and the film ends in possibly the last way you'd imagine it would.

Written and directed by Boaz Davidson, THE LAST AMERICAN VIRGIN was released in 1982 within months of PORKY'S and FAST TIMES AT RIDGEMONT HIGH. While it's never achieved the cult status of either, it must be said VIRGIN ultimately emerges as a film of comparably surprising substance.

Yes, there is the vignette-type opening half, which is basically the exploits of three horny teens set to the sounds of 80s pop tunes. Some of it is genuinely funny, aided by Davidson's energetic direction and amiable performances from all concerned.

As mentioned above, the soundtrack is a marvellous throwback to 80s pop culture. Devo, The Police, REO Speedwagon, The Cars and even U2 are featured. In fact, the copyrights involved in licensing these songs could easily account as to why the film's home video distribution over the years has been, at the best, spotty.

But the film deserves a better distribution. The pace is snappy, its script is witty and the underlying romantic sentiment is balanced enough to counteract the smuttier punchlines of the early action without being totally sickening.

If anything, VIRGIN is a lot tamer in terms of lewd comedy than its title and association with the likes of SCREWBALLS and PORKY'S may suggest. Yes, there's the penis-measuring scene and the horny chick who's only tempered by the unscheduled arrival of her spouse ... but, at heart, this is a buddy flick with a heart of gold. And it's none the worse for it.

Perhaps the real star of the show, though, more so even than the soundtrack and curveball second half, is Adam Greenberg's stunning cinematography. He lends the action a vivid, neon-like fluorescence that is totally befitting of its era and ranks it in an aesthetic class above its more celebrated counterparts.

Arrow's region B blu-ray was a surprise addition to their mainly horror and action canon. Still, this under-seen cult curiosity has been afforded a level of care and respect that's consistent with all their other releases of late.

Presented uncut as an MPEG4-AVC file, the film gets the full 1080p HD treatment in its original 1.85:1 aspect ratio with natural 16x9 enhancement.

Colours are beautifully vivid and natural, skin-tones are authentic and the amount of clarity in even background and peripheral detail is quite staggering. VIRGIN gets an unexpectedly top notch presentation here; fans can rejoice.

English 2.0 audio benefits from a lossless Master HD mix and is, of course, clean and clear for its duration. Dialogue is nicely upfront in the mix, but never to the detriment of that wonderfully dated soundtrack.

Optional English Hard-of-Hearing subtitles are well-written and easy to read at all times.

The disc opens to an animated main menu page. From there, pop-up menus include a scene-selection menu allowing access to the film via 12 chapters.

Some meaty interviews make up for the bulk of the impressive bonus features on offer.

First up is a 36-minute chat with Davidson. He speaks of beginning his career in his native Tel Aviv, getting his break with his wildly successful LEMON POPSICLE, minor cuts he was compelled to make for an R-rating in the US, and so on. He's aged but erudite, and has been blessed with a sound memory.

Monoson gets 26 minutes, wherein he's able to talk about his own career and how amazed he is at VIRGIN's enduring appeal. He looks very good, considering three decades have passed since the film was made.

Franklin is intent on plugging her newly-written autobiography in her own 20-minute featurette. Though she's honest enough to ponder aloud as to who would realistically buy it in this day and age. Still, she's enthusiastic and informative as she takes us through her experiences in VIRGIN, "Twin Peaks" and beyond.

The most interesting interview, for me at least, comes in the form of a 21-minute chat with Greenberg. He knew Greenberg from the offset of their careers, and seems to have fallen into lensing his films almost by accident. Still, it's late to greater things, as he elaborates in charmingly authorative style.

All of the above featurettes have been produced by Fiction Factory.

The film's original trailer runs for 2 minutes and, curiously, sells the soundtrack more than the movie itself.

Also included in this set but not provided for review purposes, are double-sided reversible cover artwork and a collectors' booklet containing notes by Robin Bougie, along with an interview with fan Eli Roth.

THE LAST AMERICAN VIRGIN is a good-looking, fun prospect: a guiltless time capsule that, if taken in the spirit with which it's offered, can't help but put a smile across your face. It's also unexpectedly thought-provoking and subversive in its own right.

Arrow have done Davidson's film proud with this sterling release.

Review by Stuart Willis