Tiffany Bolling--70s genius. A mix of Jane Fonda's gorgeous freneticism and Sharon Stone-cut malevolence, Bolling's beauty, acting and sheer screen presence elevate near any project.
From the orgy, Dr. Paul is sent to rescue her (the cops were friends of her late father) and they spend the night wandering in the woods and love blooms. The big issue for hunky male educators everywhere: is it better to give in or fight when some unstoppable nymphomaniac keeps hitting on you? Refuse and they could get their hell hath no fury scorn on and spread rumors you hit on them, but if you do, they could 180 on you and start crying afterwards and in hindsight who knows what they might say? You could be part of some mad cycle where they seduce strange men and then frame them for the gallows. But wouldn't it be worth it? What about if they really need a friend? It's only our ever-shifting moral compass that, lately, damns these sorts of things when they're as old as education itself. Without the stigma, who knows what benefits might accrue for both of you?
What makes me want to descend so deep into this film is of course Ms. Bolling. She's got the cunning ability to cut through the song and dance of Sharon Stone while keeping the momentum (much as I love her in BASIC INSTINCT I never feel like I'm watching anyone but Sharon Stone doing anything but work for an Oscar in CASINO). But where Bolling comes into her own is in the way her border's transcend the limits of acting when needed and into the gutsy drive-in trash operatics that make Quentin Tarantino write your name down on a cocktail napkin in the drive-in dark. There's a special magic you need to play the drive-in. It's a kind of kabuki theater of over-the-top heaving and shimmying and angrily firing. Could she play Shakespeare? Don't ask me. But could Meryl Streep or Fonda deliver the goods like Bolling does in BONNIE'S KIDS? Hell no. If Bolling and Marks had made BARBARELLA I'd bet you my bottom dollar it would be as beloved as FLASH GORDON (1980) is today, by the fans who know.
There's another TRIANGLE from 2009, a weird mix of GHOST SHIP meets Poe's classic short story, "Descent into the Maelstrom," wherein a yacht full of himbos, beeyatches, and one slightly skittish blonde deer-in-the-headlights single mom of a kid with some mental illness (who she leaves "at school") pass through a strange electrical storm off the coast of Florida and wind up on a ghostly passenger ship. It would be wrong to tell you anything more, except that it plays nearly nonstop on Showtime Extreme, and it's the kind of film you can come in on anywhere, over and over, and it only fits the metatextual oomph of the proceedings to a Golgothian T.
But Bolling ain't in it. So let me just say by way of a Bolling bio that she rose to fame via a spread in Playboy, which she's since lamented as pigeonholing her as a sex symbol instead of an actress. To me, and no doubt Tarantino, too, she's better than an actress... she's nothing less than a psychotronic goddess.
The move is so ill-advised it ends up the girls take it on the lam, hit up a crime boss model agency uncle and start posing. Bolling is on unrepentent greed mode, hijacking a package delivery her uncle sends her on, with a dimwitted detective enslaved against his better judgment to comply by those heavenly legs and flawless middle and lovely hair, and eyes, and lips; who can resist her? I once dated a girl like this and she derailed my entire life before taking off. It was worth it then and it's worth it now to see Bolling pull the same crap on the guy who harassed Stacey Keach in THE NINTH CONFIGURATION (Steve Sandor).
Tangential highlights include Casey Adams (NIAGARA) as a grinning traveling salesman "on an expense account" the short skirts and 70s decor; and most of all the swell rapport of the two guys chasing them--the heavily eyebrowed Alex Rocco and smoovly-suited Tim Brown. "Hear that Eddie? The girl said she's out of coffee" Their rapport is so funny, scary, and KILLERS-ish it inspired that of Jules and Vincent in PULP FICTION.
BONNIE'S KIDS is so good, in short, it has me dutifully poring through the whole oeuvre of not just Bolling, but Marks as well. In a great director bio video from Elijah Drenner (on the BONNIE DVD) we learn of a hard-to-find gem called THE ROOMMATES, a giallo-type slasher film THE CENTERFOLD GIRLS, and an all-but lost 1978 film called WONDER WOMEN. You can try to get into Al Adamson or Ted V. Mikels if you want, but it's a grueling uphill hike. Go for the guide who knows what he's doing, Arthur Marks, and sled with Bolling straight to Hell.
And she had a guest spot as a crazy snake charmer yogi in Charlie's Angels!
Check out this great 1991 interview with Bolling, reprinted over at TEMPLE OF SCHLOCK!