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 ash-blonde naif (Allen) steps off the bus to be faced by a dark-hued pimp (Winston Kramer) and a white haul goddess (Richard Lindstrom). Soon he is at the home of a masculine madam (Brad Preston), and suggested the proposition that if he puts out for clients in private settings and for the camera in screw flicks, he will ultimately be given a role in a mainstream film. There goes after a mechanical hump gig in which an unattractive john and a disinterested man fucktoy go at it. Like most of such vignettes in the film, this one has a embarking (penetration) and an finishing (the cash shot), but highly little middle, and no perceive of a accomplish sexual experience. The sequence conforms as an eye-opener for Allen, who (after being plied with and some sort of pill) agrees to sofa down with the pimp, as sort of an audition. They kiss. Allen bj's and gets banged (although the assfucking activity showcases up to be simulated, and neither has an on-camera ejaculation). The 3rd and fourth explicit vignettes - of Allen with clients - are more successful on a purely prurient level. The first, a three way with a and poolside, includes Allen sucking, rimming, and another clearly simulated fuck. The other, featuring Cassidy as a closeted vid star, clearly showcases why he was one of the most favored early stars of the genre. The camera enjoyed his chiseled features, gym-built physique, and robust erection, and he tosses a certainly not-simulated screw to the diminutive ash-blonde that culminates with a syrupy cash shot all over Allens tongue. But Allens mettle is embarking to remorse his life of being constantly used. An acting workshop for clients turns into a kaleidoscopically filmed hump 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 character tantrum in Citizen Kane. This is followed in fast succession by Allens tryst a nice, middle-aged fella (William Laskey) who elevates snakes, intones the most polemic conversation 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 festivity at a cabaret where a haul goddess (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 almost has hump with Todd (another sensation 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 sofa for the hottest hump gig in the vid and an ambiguous finishing in which the gay-for-pay dude is step by step coming around (Give me time... Dont push me... You cant have everything.) And the film concludes with a marvelous freeze frame of Allen in front of a ginormous 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 ash-blonde naif (Allen) steps off the bus to be faced by a dark-hued pimp (Winston Kramer) and a white haul goddess (Richard Lindstrom). Soon he is at the home of a masculine madam (Brad Preston), and suggested the proposition that if he puts out for clients in private settings and for the camera in screw flicks, he will ultimately be given a role in a mainstream film. There goes after a mechanical hump gig in which an unattractive john and a disinterested man fucktoy go at it. Like most of such vignettes in the film, this one has a embarking (penetration) and an finishing (the cash shot), but highly little middle, and no perceive of a accomplish sexual experience. The sequence conforms as an eye-opener for Allen, who (after being plied with and some sort of pill) agrees to sofa down with the pimp, as sort of an audition. They kiss. Allen bj's and gets banged (although the assfucking activity showcases up to be simulated, and neither has an on-camera ejaculation). The 3rd and fourth explicit vignettes - of Allen with clients - are more successful on a purely prurient level. The first, a three way with a and poolside, includes Allen sucking, rimming, and another clearly simulated fuck. The other, featuring Cassidy as a closeted vid star, clearly showcases why he was one of the most favored early stars of the genre. The camera enjoyed his chiseled features, gym-built physique, and robust erection, and he tosses a certainly not-simulated screw to the diminutive ash-blonde that culminates with a syrupy cash shot all over Allens tongue. But Allens mettle is embarking to remorse his life of being constantly used. An acting workshop for clients turns into a kaleidoscopically filmed hump 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 character tantrum in Citizen Kane. This is followed in fast succession by Allens tryst a nice, middle-aged fella (William Laskey) who elevates snakes, intones the most polemic conversation 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 festivity at a cabaret where a haul goddess (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 almost has hump with Todd (another sensation 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 sofa for the hottest hump gig in the vid and an ambiguous finishing in which the gay-for-pay dude is step by step coming around (Give me time... Dont push me... You cant have everything.) And the film concludes with a marvelous freeze frame of Allen in front of a ginormous kleig light at yet another premiere - rich, famous, and alone.
Added: 2015-04-12 • Views: 11 • Duration: 1:56:30
