Bijou Classics - Le Bf Mec
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Captivating, muscled Karl Woods is the focus of this artfully made and breathtakingly erotic late '70s classic French porn film. Giving the film a documentary-like feeling, Woods ? on and off camera ? narrates his practices as a hustler and nightclub performer living in Paris (with wordy English translations). As we hear about his life, background, and philosophy, we witness Woods going about his daily routines, performing his cabaret acts and partaking in stylized sexual vignettes. Atmospheric, beautifully shot, and blisteringly hot, this moody portrait of lonely machismo is potent and professionally executed. Forest's spectacle is arresting; his physique is meticulously sculpted (we observe him religiously exercising), he has tats on his biceps and welts on his lip and eyebrow, and he has an brutish but detached aura, constantly sitting alone and smoking. His words at times contradict what we see of his life. He is a self-critical narcissist who turns down his bashing build's impressiveness and strokes off and raises weights while gazing into the mirror. He fetishizes weapons and war, describes his stint in the military and prior conflicts with law enforcement, is pragmatic and dislikes dwelling on negative emotions or wasting time on fantasies, and values his independence and non-attachment. The film's opening features Forest, clad only in a military helmet ? displaying off his awesome physique and his large, uncircumcised cock ? sitting astride and shoving on top of a cannon. We embark to get Forest's backstory as the camera enters a wooded sphere near where he grew up, previously a battleground where he used to find weapons from the war. Woods and another fellow are making enjoy among the trees while a barely-glimpsed observer in a German uniform witnesses thru binoculars. Woods describes his past as a youthfull tough. We see someone frolicking pinball in an arcade and Woods ? sporting slicked-back hair and a milky tank top and owning a switchblade ? getting a sucky-sucky from a getting down on all fours fellow in a bathroom. In a elementary milky guest room with only a world map mounted on the wall, Woods is leaned over a table and romped by a youthfull "cop" in sunglasses and a leather jacket, while cuffed and yowling. He then boinks the cop in return, clad as a mobster and pointing a at the cop's helmeted head. In military fatigues, Woods enthusiastically munches a man's, then welcomes and exits. At night in a hotel, Woods gets a frantically ecstatic sucky-sucky from a john. At very first detached, smoking, gazing into the distance, Woods becomes increasingly captivated by observing the older fellow engulfing and idolizing his cock. The fellow becomes so consumed by the sucky-sucky that he displaces his hairpiece. Woods gapes at him and comes as the john jerks himself to ejaculation and collapses onto Forest's crotch. Woods does an vigorous nightclub spectacle to a fine track. He is seen sprawled bare in bed, bathing, and raising weights at the gym. He briefly attempts to cruise outside but is followed home by a meek junior fellow who had been gawking at his weightlifting. Woods boinks the youthfull fellow in his bedroom, then hardly registers as the fellow exits his apartment. Woods discusses his versatility and interest in any number of sexual activities. The camera sneaks thru a dark canal and we come upon Woods and two guys porking in the darkness, illuminated only by the slat of a flashlight that roves over entangled figure parts. Finally, Woods comebacks home. He undresses in front of his mirror and masturbates, breath fogging his reflection as he comes. He rails off on his motorcycle. Woods himself is credited with the film's storyline and is the co-producer (along with director Wallace Potts, lover of Rudolf Nureyev). Features killer photography by Francois About (who sets the atmosphere and dynamically seizes the film's intercourse scenes), choreographed performances, and an excellent musical score.
Captivating, muscled Karl Woods is the focus of this artfully made and breathtakingly erotic late '70s classic French porn film. Giving the film a documentary-like feeling, Woods ? on and off camera ? narrates his practices as a hustler and nightclub performer living in Paris (with wordy English translations). As we hear about his life, background, and philosophy, we witness Woods going about his daily routines, performing his cabaret acts and partaking in stylized sexual vignettes. Atmospheric, beautifully shot, and blisteringly hot, this moody portrait of lonely machismo is potent and professionally executed. Forest's spectacle is arresting; his physique is meticulously sculpted (we observe him religiously exercising), he has tats on his biceps and welts on his lip and eyebrow, and he has an brutish but detached aura, constantly sitting alone and smoking. His words at times contradict what we see of his life. He is a self-critical narcissist who turns down his bashing build's impressiveness and strokes off and raises weights while gazing into the mirror. He fetishizes weapons and war, describes his stint in the military and prior conflicts with law enforcement, is pragmatic and dislikes dwelling on negative emotions or wasting time on fantasies, and values his independence and non-attachment. The film's opening features Forest, clad only in a military helmet ? displaying off his awesome physique and his large, uncircumcised cock ? sitting astride and shoving on top of a cannon. We embark to get Forest's backstory as the camera enters a wooded sphere near where he grew up, previously a battleground where he used to find weapons from the war. Woods and another fellow are making enjoy among the trees while a barely-glimpsed observer in a German uniform witnesses thru binoculars. Woods describes his past as a youthfull tough. We see someone frolicking pinball in an arcade and Woods ? sporting slicked-back hair and a milky tank top and owning a switchblade ? getting a sucky-sucky from a getting down on all fours fellow in a bathroom. In a elementary milky guest room with only a world map mounted on the wall, Woods is leaned over a table and romped by a youthfull "cop" in sunglasses and a leather jacket, while cuffed and yowling. He then boinks the cop in return, clad as a mobster and pointing a at the cop's helmeted head. In military fatigues, Woods enthusiastically munches a man's, then welcomes and exits. At night in a hotel, Woods gets a frantically ecstatic sucky-sucky from a john. At very first detached, smoking, gazing into the distance, Woods becomes increasingly captivated by observing the older fellow engulfing and idolizing his cock. The fellow becomes so consumed by the sucky-sucky that he displaces his hairpiece. Woods gapes at him and comes as the john jerks himself to ejaculation and collapses onto Forest's crotch. Woods does an vigorous nightclub spectacle to a fine track. He is seen sprawled bare in bed, bathing, and raising weights at the gym. He briefly attempts to cruise outside but is followed home by a meek junior fellow who had been gawking at his weightlifting. Woods boinks the youthfull fellow in his bedroom, then hardly registers as the fellow exits his apartment. Woods discusses his versatility and interest in any number of sexual activities. The camera sneaks thru a dark canal and we come upon Woods and two guys porking in the darkness, illuminated only by the slat of a flashlight that roves over entangled figure parts. Finally, Woods comebacks home. He undresses in front of his mirror and masturbates, breath fogging his reflection as he comes. He rails off on his motorcycle. Woods himself is credited with the film's storyline and is the co-producer (along with director Wallace Potts, lover of Rudolf Nureyev). Features killer photography by Francois About (who sets the atmosphere and dynamically seizes the film's intercourse scenes), choreographed performances, and an excellent musical score.
Added: 2024-12-24 • Views: 0 • Duration: 1:11:29
Categories: Vintage • Studio: Bijou Classics
