Dirty Western 2: Smokin’ Guns (1995)

August 12, 2013 by adamsunderground

Stock photo of Lisa Ann. Image by AMG_1992, via Photobucket

Saddle up for a flash flood of effusive praise, a stampede of mixed metaphors, and a pestilence of prairie puns, this here cowboy’s itching to sing the praises of those fine ladies in that town over yonder.

Inevitably, a beautifully crafted but hollow film would one day be the first to barge into this here blog’s saloon. And with bodices ripped and guns ablazin’, that low down rustler, Dirty Western 2, was the one who done did it. (Ok, easing up on the reins…keyboard now…for just a spell.)

The gossamer thin story, just a sequence of events with no real conflict for the characters to endure, exists only to place the actors in carefree temptation’s way. But what a mesmerizing way it is!

The box cover blurb summarizes it best:

“It’s the old west, 1852 style. We’re following five beautiful working girls, working their way through four sex starved outlaws on their way to windy San Francisco. Adele Robbins, director of one of adult’s most acclaimed films, Dirty Western, comes back with a passion in Dirty Western Part Two. It’s a return to the glorious adult films of yesterday, with breath-taking eroticism, costuming, sets and action. Dirty Western 2: Smoking Guns stars our exclusive discovery. Lisa Ann. With a supporting cast of adult’s leading ladies and dangerous desperados. It’s a stunning trip back to the wild, wild western!”

Out of the large cast, only a couple of individuals have names in the script, and even then, they’re spoken once or twice the whole time. The credits dispense with the characters’ names altogether, only showing a cute montage of prior clips matching the actresses’ aroused faces to names.

A well crafted production, like Where There’s Smoke There’s Fire, DW2 exceeds all expectations and inspires a viewer to seek out any other works by the same crew.

The production’s lighting never fails its subjects, no matter the setting. Outside shots sometimes mimic the artificial uniformity of ’60s televised westerns, which brings a nice familiarity to the visual texture.

The music selection contains some surprisingly appropriate and pleasing choices. During each scene and in their transitions, DW2’s sound editor conducts a masterwork of proficient and prodigious mixing of all manner of audio, instrumentals, effects, vocalizations, and more to further propel the visuals.

dw2a Rivalling the expert sound, the camera work never rests on its laurels, or tripods, presenting new and interesting perspectives to each subsequent sex scene. The cameras regularly move smoothly along all planes of motion possible, also while zooming and focusing, seeking better angles of the action and putting to shame the laxity found widely among the industry’s cinematography. A great crane shot in the woods, just for some breezy log-rolling fun—who does that?

The frequency of visual edits during sex comprises DW2’s single major flaw, a common problem industry wide. It broadcasts a sense of impatience in not holding a camera view for more than a scant few seconds, possibly turning actresses’  unique performances and endearing quirks into blander fare. Recalling the example of the opposite extreme in Batman XXX with its 20 minute long sex scenes, where a single shot might have several minutes apiece, DW2’s edits are too numerous and warrant stretching the under 80 minute running time to 90 just to extend glimpses during each of its six trysts.

dw2cast1 Bringing the excellent and discrete production elements together deserves acknowledgement for its superb planning and execution–just the imaginative positioning of Brooke Waters and Lisa Ann’s scenes alone raise this film well beyond its peers. And its little touches keep the entire movie from a misstep, even though there is no map of a story to guide the character along a trail. One such example, the solitary moment of seriousness, is the slow zoom on the CSA badge on the former Confederate soldier’s hat, while mixing in the single song of the film, a somber ballad that sounds period correct. Three more lighthearted ones are the softcore teasers to the following hardcore sequences, a bacchanalian revelry in a gully, a sultry bath in a trough and a rough flash on a fence.


Pleasant surprises of an audio and visual gag apiece, a restrained effort that avoids being campy, both add further distinction between disparate sexual events and provide nice ebb and flow to the mood.

Put simply, the film’s production took no shortcuts and presents a stunning experience, all without a substantive story to support it.

Total Grade: A

Specialty Grade


Screenplay C


Acting A


Cinematography A
applications-multimedia Film Editing C


Visual Effects B


Audio A


Sound Editing A


Audio Effects C


Musical Score A


Production Design A

Click page 2 below for “The Morning after” Dirty Western 2


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