God, who apparently obsesses on Bootsy Collins a little too much, has a problem in his afterworld corporate structure. Seems mortal souls are having a hard time giving up the non-holy ghost, and without available deadites to finagle into heavenly worker bees, the Omnipresent CEO is experiencing a heavy staff shortage. So he makes deals with potential pearly gate crashers: they help the living kill themselves and as casualty catalysts, they become a welcomed part of His Mothership Connection. The latest recruits, a couple of dead Chicago goombahs, agree to travel back down to the plane of reality to help Tex, a sick Stetson stick figure, kill video artist Leon DeWilde.
Seems our elongated doogie puncher despises this girly generator of must die TV and his pouty, bib overall wearing “canvas” stretcher Ray. Leon is obsessed with death, so much so that he Betamaxes anything in the throes of imminent mortality and calls it Jasper Johns. But even with anger just a rootin’ tootin’ to rage, our slender vittle just can’t seem to off the cathode offender. So it’s up to God’s goodfellas to use their skills at roller boogie and gay bashing to bring cow and party poke together for a final Brooklyn style wild west showdown. But who is the victim and who will be the victee…oh wait. Only Allah, and his Angels, knows for sure.
Meanwhile, in that addled bastion of otherworldly ethereality and make believe, also known as Hollywood, young actresses named Sin and Heaven just can’t seem to get a job offer…acting, that is. When a policeman stops our Miss Afterlife Paradise, it’s love at first ogle. Typical of getting out of a ticket, Heaven gets out of her blouse, and after a night on top of her cloud nine Valhalla, the oppressed officer becomes wildly possessive. He wants to marry Heaven, or at least take her home to “Momma.” But she wants to be a legitimate film star, even though she looks like a lemur and speaks like Perini Scleroso.
Hoping to land a much sought after audition with local “producer” Mr. Salacity, the girls primp and preen and practice their self-gratifying improvisation skills. But all Mr. S wants is a little slice of vice and a long hard night in the valleys of the kingdom of God. After a picnic debacle that leaves the lecherous S soaking in his own secretions, Mr. Big Shot now won’t give the always-willing women the time of day. So our beauties concoct a plan to kidnap the moviemaker and fornicate him into providing Equity cards. And all the while we learn that, apparently, the Bible is wrong. No matter if you are a rich or righteous dude, it’s pretty damn easy Getting into Heaven.
The scorecard of carnality is putrid. There is a half-topless shot thirty minutes into the narrative, and some completely under the cover horizontal handsprings at the forty-five minute mark. But the rest of the movie is like one big long inferred homosexual brain buster, since the film is chockfull of gay imagery, queer suppositions, and way too many sequences of well-muscled mime. Sure, this could all be chalked up to the mid-‘70s retreat into an “anything with anyone goes” attitude that seemed to welcome disco and its 54 feyness right through the velvet ropes. But the movie just makes no sense as a sellable item. It doesn’t have anything novel or naughty to say about how the Lord works, either in mysterious or (as in this case) monotonous ways. And the avant-garde art angle of exploring entities on videotape the moment before they die sounds like a bad dream Dr. Elizabeth Kubler-Ross once had.
Kind of like a bong hit version of Peeping Tom, Angels wants to say something cogent about accepting life after death via the Sony camcorder. Unfortunately, it does so with a Fire Island road company version of Godspell.
Getting into Heaven, on the other hand, gets its raunch and randy factors just right. While not a Novak product (with a title like that it really should be), simply repeating this movie’s marquee moniker will give you the gist, the grist, and the gravy of this seedy little sexcapade in a simple three word phrase. Then add the ample talents of one Uschi “Oh La La” Digart, and you’re in for a goofy delight that is funny as well as frisky. True, the male leads represent manliness at its most bereft of beefcake, but apparently it is easier to convince a paying audience of Everymen that hot babes would rotate their tires if the studs in seduction looked like feed store clerks. Still, there are also a many ribald reasons why Getting into Heaven really ratchets up the rug burns for the connoisseurs of curves.
While the notion of a full body snuggle with gallons of Vicks Vapo-rub seems a tad…how does one put this…mentholated?…the extended incident of Sin lathering up Heaven for a little “alternative” massage aromatherapy is guaranteed to enflame your sweetbreads and coldcock your bi-values. And when Uschi wants to, she can sell the sex act better than any standard, non-hardcore actress. Yes, she does occasionally look like a beaver in search of a good range of cedar to sink her choppers into, but more often she smolders with a fire down below burn that ignites the screen. It’s no wonder she is a darling of the exploitation genre. Aside from being built like a terracotta bulldozer, she can really pour on the pure joy of playing jock hockey.
Getting into Heaven may simply be 80+ minutes of simulated sex surrounded by cornball jokes and comic asides, but it meshes the two so effortlessly that you’ll laugh as much as you leer. And when Uschi is in your eyeline, everything is bound to get steamier.
// Moving Pixels
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