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In New Mexico in 1889, Enoch (Kris Holden-Ried, Lost Girl, Underworld Awakening) operates a brothel with five of his girls: Esi (Nisa Gunduz, Designated Survivor, Swindler Seduction), Tara (Camille Stopps, Alive, 22 Chaser), Ada (Heidi von Palleske, My Animal, Ankle Biters), Precious (Jessica Danecker, Fight!, Night Drive), and Martha (Hailey Summer, Lovekill, The Manny). There is also one other girl living in the brothel and that is seven-year-old Angel (Brooklyn Popp) whom they have been nurturing since her mother passed away.
Enoch still finds it hard to chase away his dreams of striking gold after the gold rush is over. However, like many others, the hunt for money remains ever elusive with Enoch owing Sheriff Amshell (Frank J. Yepancic, The Fight Machine, Killer God) money himself. His problems could easily be solved by accepting Madame Gabi’s (Diana Goldman, Defective, The Water’s Fine) offer of buying Angel, and with Alaska’s dreams still in mind, only time can tell if he takes her up on it.
Carlo Liconti (Undertaker, Perpetual Motion) was a director, and Daniel Matmor (Night Terrors, Homeboyz II: Crack City) was a writer, and both of them started Bordello with restrained despair. The brothel is an old mansion that has definitely seen better days and so have its occupants. More than one of them is showing their age and the absence of income has them, and Enoch, at each other’s throats.
While it is clear that most do care for one another and the worries are simply causing them to lash out, it is also evident that the one thing that they all really have in common is called Angel, a child they want to guarantee a future without child prostitution. But as circumstances dictate, it is easy to be convinced that Enoch is ready to sell her against his dreams of visions only instead of thinking about not accomplishing them. And it is this suspicion that drives Bordello’s plot towards its climax.
Bordello shines in the interactions between the main characters. It is still amusing even though it is dominantly a drama. It has a little bit of humor sprinkled across it, like when a customer who is Jewish doesn’t have a tail, instead of Bordello. It is more dramatic than comical. Nonetheless, it serves as a good lesson on how ridiculous things can get and can still be taken seriously.
Still, Bordello manages to balance the film’s different plot elements, supply the audience with most of the action within the film, and give the movie a proper ending. The way this dramatic western medley is done, it appears as if everything is jumbled and done in a hurry because they found themselves out of time or resources. The ending could have been stretched out for a couple of minutes so it could be more pleasing.
The cast led by Heidi von Palleske has done a good job in making her stand out as Ada, the eldest of the bordello’s working girls, and as a mother, or rather a leader, figure to some of them. Zupancic Frank portrays the psychopathic sheriff with a brace of pistols in his hand and serves as an antagonistic figure very well, though I must admit I wouldn’t have minded if he had had a bit more screen time.
The sets seem a bit more battered and more expressive than the ordinary old-west tourist traps that tend to be utilized in low-budget horse operas. Ludek Bogner, who worked on One Man Out, Animorphs, and the Heather Thomas vamp flicks Red Blooded American Girl, is the photographer, and he was good at utilizing the sets and giving it all a nature-friendly look. As mentioned above, there is not much in the way of action and the effects consist of mere brief CGI bullet hits.
So long as you keep in mind that it is not a Western drama but rather a shoot-em-up, Bordello of Sanchez should satisfy viewers looking for something a little different.
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