Cast List

Richard Ford, Quave Dalton, Mark Wesley, Paul Powers, Wayne Farmer, Shawn Taylor, Clark Holloway, Charles Segrest, Terry Johns, Ricardo Velez, Lawrance Fuller, Jerry Holland, Hal Holden, Hill Carson, Gareth Burton, Doug Howard

Review

The transfer from film to video has taken its toll on this classic release but the oral sex emphasis and involved story are a nice ode to the classic movies of 1973.

A mini study of morays and coming out are mixed with the supposed everyman's unexplored homosexuality, mysticism, sexology, ritual, and blatant lust. Classic early 70s clothing, hairstyles, attitudes, and décor will also be found here. The color often masks the action and the mixed and changing lighting and hard-to-hear sound are annoying, making this must for collectors.

Quave Dalton, the sexy coming out star, recalls a break up with his wife as we listen and he lies in bed in his underwear, tossing and turning as the camera worships his body. He beats off his horny, large uncut meat on the sofa after getting hot reading an ad in the paper for help with sexual solutions. His orgasm is wasted due to too bright lights.

Quave goes to a sex expert/occultist Gareth Burton and is told to explore his inner homosexuality as a way of getting his pent-up urges met since he's not turned on by his wife anymore. Gareth shares the Egyptian story of the sacrifice of Osiris and their ritual of sodomizing a male “boy” to illustrated his points, and the story comes to life in the next scene.

Here, four men in ritualistic robes stand before a bearded redhead with big nuts, foreskin, and lean and smooth body as he lies on a red mat in an Egyptian hall. Red lifts each of their robes to suck their cocks, each in turn. But two stay soft and the action is not shown in close-up.. Later, two “monks” hold the man-boy's arms as he's fucked up the ass doggie style by a hung man – who shoots a no-hands, huge orgasm all over his back and ass. Although Quave calls it “disgusting,” he makes the effort, humorlessly stopping at a strip show to watch two hunks gyrate in and out of underwear before him. The star beats his pud a bit and moves on to the film room to watch two very sexy men sucking cock and one of them blow a huge, wet jism all over his buddy.

Quave leaves, drives around, beats off in his car, and ends up at a garage, frustrated and horny. He picks up a spare lighter for his convertible and ends up getting a hot blowjob by the hunky clerk in the back room. Quave is bold and lets the clerk jerk his jism onto his chest before shoving his cock back in mouth for a cleaning.

Ends with an out of place orgy that ends up being colored red most of the time. The actors are at a distance so you can't tell if Quave is a participant among the six dudes. The orgy is sexy though seen from afar thanks to a man bound by his wrists and strung up, mild flogging, hearty head, and an anal session, and a couple of good orgasms. Below-average quality but an interesting historical piece with much commentary on society and self-acceptance, not to mention diverse sets, scenes, and action.

One Bijou reviewer wrote:

This early-seventies film starts out promising enough, with incredibly well-done titles and an opening shot of a hunky fellow rolling around in bed, his hefty balls peeking out of his white shorts. But shortly after, a handful of overwhelming problems combine to turn this movie into an historical oddity, an intriguing piece of pornography influenced by 1960's avant-garde film. This film features a solo scene, a four-way, an orgy, some strippers, and a blowjob; yet very little of it is erotic. What parts of the film that aren't poorly lit or deteriorated are too artistically rendered to be sexually fulfilling.

A handsome, if average, furry-chested man named Chuck visits an Egyptian Sexologist to discuss his lack of sexual desire for his wife. He explains he has no trouble masturbating, something that's been proved by the prior scene in which he sips scotch by a fireplace and strokes his big dick while caressing his dark blue silk robe as jaunty classical music plays. The Sexologist, a strange looking man with an even stranger sideburns-beard combo, explains that perhaps homosexual dabbling may help Chuck's"sexual maladjustment." In a speech that sounds tom from Masters and Johnson, the Sexologist explains homosexuality's place in history.

He then describes a ritual from ancient Egypt in which young men are sodomized as a means to preserve the sacred status of the high priests. The explanation is awfully convoluted, but thankfully we're treated to a re-enactment, complete with fog, capes, and paper masks. A bearded, uncut, well-hung guy writhes on an altar. Four priests, in ridiculous masks and Egyptian skirts, surround the boy. He undresses each one, exposing their soft cocks. He then peels off each one's wings/cape and takes turns sucking dick. Dissonant music lends an uncomfortable air, as if to imply a ravishing of the boy. But even when he is held down and fucked, the cocks and thrusts aren't hard enough to convince as such. The scene looks like a dilettante's take on Kenneth Anger. Oddly, the filmmaker's name is Kenneth Andrews, which could be a coincidence. But considering the Egyptian scene and the final orgy, in which all the bodies glow iridescent red, this director clearly had knowledge of movements within experimental film.

This 'artsy' angle is maintained in the next scene when Chuck visits a Go-Go Bar. Two skinny, sunshine blonde dudes---one in a blue speedo, the other in white, dance and strip to some weirdo ragtime-rock hybrid. Their moves are anything but sexy and their dicks are small, but some of the shots of them dancing are rather arresting. Blue and yellow flesh fuses with a red background, and any number of colored lights flashes and fades in a filmic moment that is truly both ridiculous and sublime.

Apparently not yet in touch with homosexuality, Chuck drives to a dirty bookstore and watches a gay porn in a preview booth. He pulls his dick from his pants and strokes along with the sex on the screen. He doesn't climax, instead he gets back in his car to frantically search for homosexuality. He cruises around in a convertible jacking his half-hard Wiener, leaving one to ponder if poor Chuck thinks sexuality is expressed through masturbation while driving. Lucky Chuck gets a blowjob from a smarmy mechanic with a greasy pompadour when he stops to get his cigarette lighter fixed. The blowjob is okay, certainly not hot, but we do get to see him ejaculate and even piss in a bathroom covered in pretty-boy nudie pics.

Suddenly, with no transition, six or so men fuck around in the frightening bright red orgy mentioned above. Seriously, this scene appears abruptly accompanied by cracks of a whip and rolls of thunder. The flesh glows like a burning log, red and yellows pulses against a black void, blurring details and looking, well, just plain scary. One man wears a leather vest and whips some of the other guys. Another gets jacked off while suspended from the invisible ceiling. The men pile on top of each other, writhing in what looks like some artist's rendering of Hell. It's truly beautiful, the coloring is almost indescribable, but it just comes off as posturing-beautiful and frightening just because the filmmaker could make it that way. In a different context, like an art film, this evil man-orgy would be fabulous, but this is pornography so the scene should at least be sexy. It isn't, neither is the rest of the film.

DM

Directed by Kenneth Andrews.

1973; 82 minutes.