The Light From The 2nd Story Window
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The first-ever thing one observes as the film opens is the Greyhound Bus Depot in West Hollywood, where a blond naif (Allen) steps off the bus to be faced by a dark-hued pimp (Winston Kramer) and a milky haul queen (Richard Lindstrom). Shortly he is at the home of a male madam (Brad Preston), and suggested the proposition that if he puts out for customers in private settings and for the camera in pulverize flicks, he will ultimately be given a role in a mainstream film. There ensues a mechanical fuckfest gig in which an unattractive john and a disinterested man plaything go at it. Like most of such gigs in the film, this one has a kicking off (penetration) and an concluding (the currency shot), but highly lil' middle, and no perceive of a finish sexual experience. The gig obeys as an eye-opener for Allen, who (after being plied with and some sort of pill) agrees to couch down with the pimp, as sort of an audition. They kiss. Allen bj's and gets nailed (although the ass fucking act appears to be simulated, and neither has an on-camera ejaculation). The 3rd and fourth explicit sequences - of Allen with customers - are more lucky on a purely prurient level. The first, a three way with a and poolside, includes Allen sucking, rimming, and another obviously simulated fuck. The other, featuring Cassidy as a closeted vid star, clearly displays why he was one of the most well-liked early starlets of the genre. The camera loved his chiseled features, gym-built physique, and robust erection, and he throws a definitely not-simulated pulverize to the puny blond that culminates with a syrupy currency shot all over Allens tongue. But Allens mettle is kicking off to remorse his life of being regularly used. An acting workshop for customers turns into a kaleidoscopically filmed orgy at which the cop on the take (Richard Lavette) selects Allen as his bonus of the day and subsequently puts him thru a abasingly homophobic Sadism exercise. This degradation prompts the onset of a jumpy breakdown in which Allen tries to ape Or Welles classical mettle tantrum in Citizen Kane. This is followed in rapid succession by Allens date a nice, middle-aged fella (William Laskey) who elevates snakes, intones the most polemic interview in the film (all about enjoy and longing), and ultimately commits suicied; by Allens becoming an overnight success as a legit vid star; and by by a celebration at a cabaret where a haul queen (Felisha Farr) lip-syncs Why Was I Born and Allen meets the enjoy of his life, another wannabe, who is gay-for-pay (Ray Todd). The wages-of-sin theme rolls to the hollowness-of-fame theme, as Allen nearly has fuckfest with Todd (another delectation 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 ultimately gets Todd into his couch for the best fuckfest gig in the vid and an ambiguous concluding in which the gay-for-pay stud is step by step coming around (Give me time... Dont thrust me... You cant have everything.) And the film completes with a handsome freeze frame of Allen in front of a giant kleig light at yet another premiere - rich, famous, and alone.
The first-ever thing one observes as the film opens is the Greyhound Bus Depot in West Hollywood, where a blond naif (Allen) steps off the bus to be faced by a dark-hued pimp (Winston Kramer) and a milky haul queen (Richard Lindstrom). Shortly he is at the home of a male madam (Brad Preston), and suggested the proposition that if he puts out for customers in private settings and for the camera in pulverize flicks, he will ultimately be given a role in a mainstream film. There ensues a mechanical fuckfest gig in which an unattractive john and a disinterested man plaything go at it. Like most of such gigs in the film, this one has a kicking off (penetration) and an concluding (the currency shot), but highly lil' middle, and no perceive of a finish sexual experience. The gig obeys as an eye-opener for Allen, who (after being plied with and some sort of pill) agrees to couch down with the pimp, as sort of an audition. They kiss. Allen bj's and gets nailed (although the ass fucking act appears to be simulated, and neither has an on-camera ejaculation). The 3rd and fourth explicit sequences - of Allen with customers - are more lucky on a purely prurient level. The first, a three way with a and poolside, includes Allen sucking, rimming, and another obviously simulated fuck. The other, featuring Cassidy as a closeted vid star, clearly displays why he was one of the most well-liked early starlets of the genre. The camera loved his chiseled features, gym-built physique, and robust erection, and he throws a definitely not-simulated pulverize to the puny blond that culminates with a syrupy currency shot all over Allens tongue. But Allens mettle is kicking off to remorse his life of being regularly used. An acting workshop for customers turns into a kaleidoscopically filmed orgy at which the cop on the take (Richard Lavette) selects Allen as his bonus of the day and subsequently puts him thru a abasingly homophobic Sadism exercise. This degradation prompts the onset of a jumpy breakdown in which Allen tries to ape Or Welles classical mettle tantrum in Citizen Kane. This is followed in rapid succession by Allens date a nice, middle-aged fella (William Laskey) who elevates snakes, intones the most polemic interview in the film (all about enjoy and longing), and ultimately commits suicied; by Allens becoming an overnight success as a legit vid star; and by by a celebration at a cabaret where a haul queen (Felisha Farr) lip-syncs Why Was I Born and Allen meets the enjoy of his life, another wannabe, who is gay-for-pay (Ray Todd). The wages-of-sin theme rolls to the hollowness-of-fame theme, as Allen nearly has fuckfest with Todd (another delectation 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 ultimately gets Todd into his couch for the best fuckfest gig in the vid and an ambiguous concluding in which the gay-for-pay stud is step by step coming around (Give me time... Dont thrust me... You cant have everything.) And the film completes with a handsome freeze frame of Allen in front of a giant kleig light at yet another premiere - rich, famous, and alone.
Added: 2014-10-24 • Views: 6 • Duration: 1:56:30
