The films of William Higgins just keep getting richer and richer more sexually potent, more visually stunning and more dramatically involving. His latest, The Jan Dvorak Story, is a case in point. It focuses on the young priest introduced in Prague Buddies and featured as a curious, tradey voyeur in Prague Buddies 2. This third installment of his story begins with his decision to leave the priesthood and journey into the secular world. The journey, of course, is that of his sexual awakening.
In the pivotal role is the strikingly handsome performer who has appeared under a number of different professional names - Max Orloff for Bel Ami, Pavel Novotny for Studio 2000 and, originally, Jan Dvorak for Higgins, who discovered him. By any name, he is a cynosure of masculinity, blessed with the three prerequisites for super stardom: (1) Facially, he is stunning. His piercing eyes, strong jaw, perpetual five o'clock shadow and perfect teeth all beg for close-ups. (2) Physically, he is stunning. His flawless physique - most especially his pecs and abs - is gym-enhanced but not so extravagant as to be unnatural. (3) Genitally, he is stunning. His oversized erection, as thick as that proverbial beer can, and his beefy ass are both as functional as they are decorative. Here, he appears in four of the five scenes that comprise the film, and he is both a sexually mesmerizing screen presence and a compelling actor who makes the viewer believe each step of his coming to terms with his own sexual impulses.
In Prague, he takes a job in a fancy hotel - the sight of him in the white-and-gold bellboy uniform is alone worth the price of the tape - and he is promptly seduced by one of the guests (Pavel Dubcek). He is quite affecting in the seduction scene, at once innocent but knowing, resistant but eager, terrified but willing. He is first given head by Dubcek, and his reactions are as hypnotic as the impressive close-ups of the crotch-action. Then the two of them slide into a 69, and he quickly stuffs his mouth with Dubcek's hefty equipment - simply yielding to the moment and experiencing the sensations he has been curious about for so long.
The surprise of the scene comes, of course, when Dubcek enters his ass - and it is obviously something the ex-priest has clearly considered (and perhaps the actor, too), for his attitude is that of an inquisitive novitiate who wishes to experience every aspect of it. He backs himself into Dubcek, savoring each sensation and discovering the path from pain to pleasure. Before long, he is working his own dick right along in rhythm with the thrusts into him. The action is so palpably real - from the first kiss to the final money shot - that one does not know whether to credit Dvorak's brilliant instincts or Higgins' masterful ability to tap them. No doubt, a bit of both is involved.
In the second sequence, Dvorak produces the keys to an empty room in the hotel and invites a pair of cooks (the Bartok twins, Jirka and Karol) to join him. Their friendly romp in a timbered garret is a classic example of purely recreational sex, and the identical twins remain an amazing phenomenon. In tandem they immediately go for his crotch and take turns jacking and sucking his ever-rigid erection. (In time, he plays with theirs too.) A joyous sense of hedonistic pleasure flows through the scene, and all three participants seem equally delighted. Dvorak is particularly gifted at eating ass, but when he plugs them anally, both twins have trouble taking his oversized rod. (It is a lot to take, but both eventually manage.) Still, they produce a pair of copious money shots apiece. One minor quibble: The twins (who we have seen do virtually everything to each other in Double Czech) here barely touch and hardly relate to each other at all. Dvorak is a valid distraction, but surely they should have some sizzle left over for each other, and that is sorely missed.
In the following scene, Dvorak further expands his sexual repertoire and becomes the seducer when a fresh-faced delivery boy (the mononamed Bebe) drops off a package and is lured into a quick matinee. Bebe, in and out of his Spandex cycle-pants, is a sight to behold. His natural masculinity, his perfectly sculpted physique and his comfort level in performing man-to-man sex equals Dvorak's. To see them grappling to whip out each other's erection, slathering each other's well-defined pecs, pinching each other's nipples, enthusiastically gobbling each other's cock and eating each other's unshaved ass - all provide memorable moments, but the best is yet to come.
Their multipositioned fuck, in which Dvorak tops the youth with ever-increasing finesse, puts a spectacular cap on the scene. The sequence is greatly enhanced by the moans and groans that spurt out of Bebe - he is quite a noisy sexualist, and he approaches bottoming in much the same way, we suspect, that he pumps iron: With zest, determination and focus. The syrupy money shots, both captured in intimate undershots, are equally thrilling and provide one of the high points of the film.
The fourth scene - entitled "Jan's Day Off" - finds him and his buddies Jirka Kalvoda and Pavel Korsakov drinking beer and ogling a waitress in a tavern, but Kalvoda is soon off for an adventure of his own. He comes across a picturesque blacksmith shop - and zeros in on the blond, sweat-drenched, furry-chested blacksmith (Joachem von Festung). This is a classic example of a spontaneous sexual encounter in which two strangers seize the moment, and Kalvoda, ever the predator, teaches the neophyte the pleasure of mansex. Although von Festung has intermittent erection-maintenance problems, Kalvoda does not, and they run the gamut of manual and oral sex play. In time - no surprise - the sinewy blacksmith is topped in a number of positions before the flaming forge. Visually, this is the most dazzling scene of the film, and both men deliver copious splatter shots.
Finally, Dvorak and Kalvoda lose interest in the waitress and leave the bar to head for private quarters where they can make love. A mirror over the bed (where they passionately nuzzle, kiss and suck each other) reflects the action in duplicate, and here, Pavel Nikos' videography (which has been first-rate throughout) reaches its apex. But as exciting as Korsakov is, it is Dvorak who remains the center of attention. His ever-rigid rod is a sight to behold, and his reactions to being serviced provide an epiphany that shatters the viewer as much as it does him. And when he returns the favor, it is as if he has found, in Korsakov's ready erection, the ambrosia of the gods.
Things only get better when Korsakov begins to finger Dvorak's hole as the ex-priest continues to jack off his rockhard erection. In the film's most memorable moment, Dvorak tenses in anticipation of being penetrated, then relaxes and slides onto the shaft, eager and willing to experience his delight in it. The multipositioned fuck that follows is relentlessly arousing, primarily because both men fuck with their entire bodies. Note especially the way in which Dvorak watches himself in the mirror as he is being fucked on all fours and how his musculature responds to the sensations of riding Korsakov during the squat fuck. Best of all is the next-to-last shot of the film, in which Dvorak stares at his cum-coated, still-hard cock in wonderment at what he has discovered about it and about himself.
When it comes time for awards consideration, we will be very surprised if Mr. Higgins does not end up in competition with himself for best picture, best director, best actor and best sex scene - for he has created two of the finest films of the year, Prague Buddies 3 and, now, The Jan Dvorak Story.
- Jerry Douglas