My review was written in December 1987 after watching the film on Prism video cassette.
The third in a series of music video-styled feature films, "House of the RIsing Sun" never gets below the surface of a cornball story about glamorous call girls in L. A. It's pretty to look at but pretty empty.
Frank Annese gives a well-shaded performance as the suave pimp, whose real trade is blackmailing rich executives who have dallied with his girls. Jamie Barrett plays a reporter who, after a chance encounter with a call girl (Tawny Moyer), goes undercover, living at Annese's mansion to do an expose on the life of a prostie. Final twist provides a surprise in who has been killing Annese's girls.
Apart from Annese, the acting is way too laid back here to whip up any drama, with Barrett particularly unconvincing. Director Greg Gold uses some interesting editing effetcs plus the usual musicvid montages, and the pic features some stunning photography by Amir Mokri (who shot Wayne Wang's "Slam Dance" around the same time).
There is much less use of hit songs on the soundtrack than in previous Mediacom films, relying mainly on Bryan Ferry and TIna Turner offerings. The title song does not appear until the end credits, ably voiced in a gospel-type rendition by Denise Mitchell.
The third in a series of music video-styled feature films, "House of the RIsing Sun" never gets below the surface of a cornball story about glamorous call girls in L. A. It's pretty to look at but pretty empty.
Frank Annese gives a well-shaded performance as the suave pimp, whose real trade is blackmailing rich executives who have dallied with his girls. Jamie Barrett plays a reporter who, after a chance encounter with a call girl (Tawny Moyer), goes undercover, living at Annese's mansion to do an expose on the life of a prostie. Final twist provides a surprise in who has been killing Annese's girls.
Apart from Annese, the acting is way too laid back here to whip up any drama, with Barrett particularly unconvincing. Director Greg Gold uses some interesting editing effetcs plus the usual musicvid montages, and the pic features some stunning photography by Amir Mokri (who shot Wayne Wang's "Slam Dance" around the same time).
There is much less use of hit songs on the soundtrack than in previous Mediacom films, relying mainly on Bryan Ferry and TIna Turner offerings. The title song does not appear until the end credits, ably voiced in a gospel-type rendition by Denise Mitchell.