Faggot Retro Bijou - The Light From The 2nd Story Window
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Based on the sleazy autobiography of the same name, The Light from the 2nd Story Window recounts the story of a naive youthfull man (played by Dave Allen, legendary for his spectacle in A Deep Compassion) who heads to Hollywood in search of "fame and fortune" but winds up working as a two-bit hustler. This movie supplies pre-condom sex at its finest ... including an impressive pop-shot right in youthfull David Allen's mouth!"When The Light from the 2nd Story Window premiered theatrically in 1973, critics were hasty to heap praise upon the dramatic richness and epic scope of the production. Certainly, it was ambitious, perhaps the most ambitious gay adult film ever produced up to that time. The years, however, have not been kind to this cautionary tale of a Hollywood wannabe who becomes a fuckslut before becoming a star. From the vantage point of the Nineties, what stays is (1) a gender-fucked wages-of-sin soap opera of the sort in which Kay Francis and Norma Shearer used to wallow so extravagantly during the Thirties, and (2), a vanity production for David Allen, who wrote the script (based on his novel), directed, and cast himself in the starring role, all too permanently leaving behind the genre in which he had chosen to tell his tale - there is not one framework in the whole film of him at erection.The highly first thing one witnesses as the film opens is the Greyhound Bus Depot in West Hollywood, where a light-haired naif (Allen) steps off the bus to be faced by a black pimp (Winston Kramer) and a milky haul princess (Richard Lindstrom). Soon he is at the home of a male madam (Brad Preston), and offered the proposition that if he puts out for clients in personal settings and for the camera in rip up flicks, he will eventually be given a role in a mainstream film. There heads after a mechanical sex vignette in which an unattractive john and a disinterested boy toy go at it. Like most of such scenes in the film, this one has a beginning (penetration) and an finishing (the cash shot), but highly lil' middle, and no sense of a complete sexual experience. The episode obeys as an eye-opener for Allen, who (after being plied with liquor and some sort of 'pill') agrees to bed down with the pimp, as sort of an audition. They kiss. Allen sucks and gets fucked (although the buttfuck action emerges to be simulated, and neither has an on-camera ejaculation). The 3rd and fourth explicit gigs - of Allen with clients - are more lucky on a purely prurient level. The first, a 3 way with a daddy and son poolside, includes Allen sucking, rimming, and another clearly simulated fuck. The other, featuring Cassidy as a closeted movie star, clearly flashes why he was one of the most in demand early starlets of the genre. The camera luved his nicely-shaped features, gym-built physique, and robust erection, and he tosses a undoubtedly not-simulated rip up to the diminutive light-haired that culminates with a syrupy cash shot all over Allen's tongue. But Allen's mettle is beginning to remorse his life of 'being constantly used.' An 'acting workshop' for clients turns into a kaleidoscopically filmed lovemaking at which the cop on the take (Richard Lavette) selects Allen as his bonus of the day and subsequently puts him through a abasingly homophobic masochism exercise. This degradation prompts the onset of a jumpy breakdown in which Allen tries to ape Orson Welles' classical temper tantrum in Citizen Kane. This is followed in hasty succession by Allen's rendezvous a nice, middle-aged gent (William Laskey) who hoists snakes, intones the most polemic interview in the film (all about enjoy and longing), and eventually commits suicied; by Allen's becoming an overnight success as a legit movie star; and by by a festivity at a cabaret where a haul princess (Felisha Farr) lip-syncs 'Why Was I Born' and Allen meets the enjoy of his life, another wannabe, who is hetero (Ray Todd).The wages-of-sin theme rolls to the hollowness-of-fame theme, as Allen almost has sex with Todd (another sheer pleasure from the early days of porn); hires a hustler of his own (Joey Daniels) who turns out to be more of a philosopher than a sexualist in a non-explicit scene; and eventually gets Todd into his bed for the best sex vignette in the movie and an ambiguous finishing in which the hetero fellow is step by step coming around ('Give me time... Don't thrust me... You can't have everything.') And the film ends with a cool freeze framework of Allen in front of a good-sized kleig light at yet another premiere - rich, famous, and alone. Why, then, after all these years, should one bother to look - or review - this film? Well, for all its flaws, The Light from the 2nd Story Window signifies an earnest try to explore and exhibit human sexuality within a dramatic narrative structure, something that was rarely being tried in those days of furtive shoots in hotel rooms. uncomfortable as it may seem today, LIGHT paved the way for other filmmakers who believed that the explicit film and the narrative could be melded, and now and again, this one does rise above cliche
Based on the sleazy autobiography of the same name, The Light from the 2nd Story Window recounts the story of a naive youthfull man (played by Dave Allen, legendary for his spectacle in A Deep Compassion) who heads to Hollywood in search of "fame and fortune" but winds up working as a two-bit hustler. This movie supplies pre-condom sex at its finest ... including an impressive pop-shot right in youthfull David Allen's mouth!"When The Light from the 2nd Story Window premiered theatrically in 1973, critics were hasty to heap praise upon the dramatic richness and epic scope of the production. Certainly, it was ambitious, perhaps the most ambitious gay adult film ever produced up to that time. The years, however, have not been kind to this cautionary tale of a Hollywood wannabe who becomes a fuckslut before becoming a star. From the vantage point of the Nineties, what stays is (1) a gender-fucked wages-of-sin soap opera of the sort in which Kay Francis and Norma Shearer used to wallow so extravagantly during the Thirties, and (2), a vanity production for David Allen, who wrote the script (based on his novel), directed, and cast himself in the starring role, all too permanently leaving behind the genre in which he had chosen to tell his tale - there is not one framework in the whole film of him at erection.The highly first thing one witnesses as the film opens is the Greyhound Bus Depot in West Hollywood, where a light-haired naif (Allen) steps off the bus to be faced by a black pimp (Winston Kramer) and a milky haul princess (Richard Lindstrom). Soon he is at the home of a male madam (Brad Preston), and offered the proposition that if he puts out for clients in personal settings and for the camera in rip up flicks, he will eventually be given a role in a mainstream film. There heads after a mechanical sex vignette in which an unattractive john and a disinterested boy toy go at it. Like most of such scenes in the film, this one has a beginning (penetration) and an finishing (the cash shot), but highly lil' middle, and no sense of a complete sexual experience. The episode obeys as an eye-opener for Allen, who (after being plied with liquor and some sort of 'pill') agrees to bed down with the pimp, as sort of an audition. They kiss. Allen sucks and gets fucked (although the buttfuck action emerges to be simulated, and neither has an on-camera ejaculation). The 3rd and fourth explicit gigs - of Allen with clients - are more lucky on a purely prurient level. The first, a 3 way with a daddy and son poolside, includes Allen sucking, rimming, and another clearly simulated fuck. The other, featuring Cassidy as a closeted movie star, clearly flashes why he was one of the most in demand early starlets of the genre. The camera luved his nicely-shaped features, gym-built physique, and robust erection, and he tosses a undoubtedly not-simulated rip up to the diminutive light-haired that culminates with a syrupy cash shot all over Allen's tongue. But Allen's mettle is beginning to remorse his life of 'being constantly used.' An 'acting workshop' for clients turns into a kaleidoscopically filmed lovemaking at which the cop on the take (Richard Lavette) selects Allen as his bonus of the day and subsequently puts him through a abasingly homophobic masochism exercise. This degradation prompts the onset of a jumpy breakdown in which Allen tries to ape Orson Welles' classical temper tantrum in Citizen Kane. This is followed in hasty succession by Allen's rendezvous a nice, middle-aged gent (William Laskey) who hoists snakes, intones the most polemic interview in the film (all about enjoy and longing), and eventually commits suicied; by Allen's becoming an overnight success as a legit movie star; and by by a festivity at a cabaret where a haul princess (Felisha Farr) lip-syncs 'Why Was I Born' and Allen meets the enjoy of his life, another wannabe, who is hetero (Ray Todd).The wages-of-sin theme rolls to the hollowness-of-fame theme, as Allen almost has sex with Todd (another sheer pleasure from the early days of porn); hires a hustler of his own (Joey Daniels) who turns out to be more of a philosopher than a sexualist in a non-explicit scene; and eventually gets Todd into his bed for the best sex vignette in the movie and an ambiguous finishing in which the hetero fellow is step by step coming around ('Give me time... Don't thrust me... You can't have everything.') And the film ends with a cool freeze framework of Allen in front of a good-sized kleig light at yet another premiere - rich, famous, and alone. Why, then, after all these years, should one bother to look - or review - this film? Well, for all its flaws, The Light from the 2nd Story Window signifies an earnest try to explore and exhibit human sexuality within a dramatic narrative structure, something that was rarely being tried in those days of furtive shoots in hotel rooms. uncomfortable as it may seem today, LIGHT paved the way for other filmmakers who believed that the explicit film and the narrative could be melded, and now and again, this one does rise above cliche
Added: 2022-06-07 • Views: 37 • Duration: 1:56:30
Categories: Vintage
