For a found footage film to work with any semblance of credibility it must successfully adhere to certain generic concepts. To the forefront though are two inescapable truths; there must be reasonable justification for the cameras and the audience must believe that everyone involved are real and not actors, even if they really know they are. For a genre that is an easy target for critics for its saturation and regularly poor quality, Lucky Bastard proves that there is still life and originality to be found.
Mike (Don McManus) runs a porn website which has a hugely popular show called Lucky Bastard, the premise of which allows one lucky fan, or subscriber, to perform a scene with one of the actresses. For the next show Mike is hoping to persuade his biggest star Ashley Saint (Betsy Rue) to be involved, although until now she has had reservations about performing with an amateur given the risks of, primarily it seems, potential stalkerdom.
Ashley is convinced however by the promise of more money so innocent looking fan Dave (Jay Paulsen) is selected for his fifteen minutes of fame. Not long after they begin the shoot though suspicions are raised as to how innocent Dave actual is and Ashley’s fears begin to look justified. Firstly Lucky Bastard will not be for everyone and how much an audience enjoys the film may well depend on personal views and how the film is approached.
This isn’t a particularly violent or visceral production but it is one that raises questions of sexual politics and what is and isn’t acceptable. There is commentary on modern society’s obsession with fame and accessibility, and the shallowness and fragility of some people’s fantasies. Viewed with the right mindset though this is an interesting exploration of the porn industry and some occasionally disappointing and obviously targeted dialogue aside Lucky Bastard is a tense and knowingly uncomfortable watch.
Returning to the found footage conventions director Robert Nathan has astutely dealt with the primary pitfalls. The question of cameras is very plausibly and easily explained in that they are making a version of a reality show. The cameraman is told to film everything and the house where the majority of the action takes place is actually a real porn film set where the cameras were already fitted. Instead of trying to hide and excuse the filming Nathan makes it part of the story and in doing so finds that elusive justification.
The issue of acting is also overcome with the performances of the cast, with the odd minor moment of hamminess (although at times this itself is utilised) detracting from the general feel, of a good standard. Betsy Rue in particular is extremely convincing as porn icon Ashley Saint and unflinchingly embodies the role.
OVERALL SUMMARY
There are flaws in Lucky Bastard but they are overcome by what is an involving story and you find yourself forgiving the occasionally slightly righteous moment as the characters, while on the whole unlikeable, are genuinely more interesting than the usual found footage creations. You may not like or agree with some of themes and opinions expressed, but this is not an investigative documentary or an expose. This is a polished and well made film that does exactly what it is supposed to do and as such should be applauded. The found footage genre isn’t dead yet and if Lucky Bastard is any form of indicator, as with any film type, the best filmmakers will always deliver.
