Produced and Directed by Donas Middleton, Starring: Catherine Burgess, Laura Nicholson, Jamie Gillis, Terri Hall, Kim Pope, Ultra Max, Bob Astyr, Nancy Dare, Al Levistsky
Catherine Burgess is a young socialite whose seems in a weird fog, far away from her husband and daughter. She seems to be constantly pining away for her dead father (Jamie Gillis) which she seemed to LOVE so dear. Her husband is particularaly frustrated after being put off by Catherine when he tries to start off some love-making with some casual finger manipulation. One night she creeps up to the attic of her mansion where the old furniture from year’s past is stored and in the mirror that used to sit in her room she sees a vision of a naked demon (also Gillis) who enages in an incredible multi-finger assault on Ms. Burgess’ privates and beckons her to “come to the other side” where her beauty will be cherished. After an incestuous scene with Gillis where the demon illustrates exactly why Catherine dug her father so much (in a scene vaguely reminiscent of Gillis’ incest fiddlings in Vista Valley PTA, the leacherous bastard), Catherine is summoned to the mirror at midnight and the film’s most outrageous scene takes place; Gillis hops out of the mirror greased up and sporting a major woody then proceeds with some unwelcome anal intrusion on Burgess’ person. Then he pulls her into the hellish mirror world, a strange reddish-tinted land populated by naked crazy people flagellating themselves, urinating and engaging in any perverse sexual act, all taking place in this odd sand world that makes it look like some porno verson Zabriskie Point. There’s even some wacko transsexual still sporting his equipment. Catherine soon succumbs to the madness but a final coda with Catherine’s daughter staring into the mirror indicates that the nightmare might not be over just yet.
I believe there are two versions of this film: a full-blown XXX version and an R-rated variant that played in average theaters. The is also probably one of the few X-Rated films to spawn a trade paperback adaption. The film indeed does have enough production values (including a freaky score by Arlon Ober and Harry Manfredini) to play as a standard softcore psychodrama and many of the sex scenes are rather brief (such as the oral affection the dumb chauffer recieves from his maid sister) and could be easily shorn from the film. Even with the murky video transfer it’s easy to see that Catherine Burgess is a true beauty and I don’t think she did much after this film; as it stands she never gets involved in too much of the sexual romps and her only big scene is a protracted lesbian scene where she rolls around on some reflective material with a female-form demon with a male voice. Ultimately Looking Glass is just your stand forumla of physical vanity pulling debauched people into their own private hell but I think the beauty of Burgess along with some of Gillis’ hellish antics make the experience memorable. There definitely is an eerie ambiance about this one which allows the film to rise above the usual adult movie and reach levels only matched by the solemn Gerard Damiano chamber piece like Devil in Miss Jones and Memories Within Miss Aggie. Catherine Burgess is incidentally also known as Catharine Burgess or Catherine Erhardt and went on to star in Al Adamson’s incredibly strange Cinderella 2000. This film also includes one of the most mind-blowing “finger P.O.V.” shots I’ve ever seen where a miniature camera seems to enter Burgess’ Vagina and penetrate deep inside her.
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