WARNING!
Pietro Rosselli
Slava Petrovich
Pietro Rosselli
Vilem Cage
Slava Petrovich
Distributor | Released | Length |
---|---|---|
Sarava Productions | 2003 | 140 |
Pietro licks Slava all over, fingers his butt, tosses him on a table, and applies his tongue from Slava's pucker, up his fat, rounded balls and along his slightly crooked cock shaft, pausing here and there to plunge his tongue in the hole He stands up and sticks his fat Italian sausage in Slava's well-prepped hole and fucks him slowly missionary until streams of cum spurt from his lover's cock. Pietro pulls out and spurts his cream from a remarkably similar looking, uncut shaft, all over Slava's crotch. Pietro then turns around and invites Slava to toss his cock into his Italian melon. Slava cums in deep spurts on Pietro's cheeky butt, and drops to his knees to bring his lover off.
We now move to three extraordinarily masculine muscle gods who are practicing their gymnastic routine under the big top. They are led by the coach, Vilem Cage, He is joined by a baby-faced, tattooed power pack of muscle and cock power, Max Veneziano. The trio is completed by the astonishing Antonio Armani. These three, bare-chested and in clinging gym pants, help each other through their paces in a languid, sensuous, body- and cock-rubbing orgy of foreplay before Vilem and Max -- cocks at full mast through their pants -- stand on a bench and invite Antonio to start the action. He sucks them both forcefully before they form a ladder of cocksucking in which all show superb oral skills, especially when Vilem swallows Max's sharply upturned, long, fat pole and brings him off to a truly fountain-like climax. The three move to a table where Antonio kneels, and Max slurps his hole as Vilem gets on his knees and pulls Max's cock through his cheeks and gobbles it down, taking time off to lick the balls and Max's crack. Antonio then goes to a wire hoop, brings one foot up to be able to offer his butt to Vilem and then opens his mouth as Max stuffs his cheeks. Then Antonio puts his other leg in the hoop and they spin him around so that Max can fuck him and Vilem can feed his face. The two tops spin him around again, Vilem shoves his beautiful dick up the cavity again, gives it a few pumps, pulls out and covers Antonio's ass with cum as Max spurts a monster load all over Antonio's cheeks and face.
Is it possible to cry during a gay porn flick? And I am not just referring to weeping over the exquisite beauty and incredible bodies and cocks that are on display, or the sex -- which is fabulous. No, in this case it's Lucas Kazan at it again, adapting the basic theme, as well as the music, of a famous Italian opera to tell his tale, this time inspired by Ruggero Leoncavallo's "Pagliacci" (1892). It's a tale of unrequited love and betrayal that ends in tragedy, of course, but like his previous masterpiece, "A Sicilian Tale," he uses the music and the anticipation of joy, madness and tragedy to induce the viewer to cream in his pants while shedding a tear. And that is a very strange, and wonderful, sensation.
The story is very simple, and I will use the actor's names instead of the characters they play to describe it. Slava Petrovich is the object of everyone's desire in a company of extraordinarily beautiful performers touring Italy in a circus tent, which is the main prop of the opera, which involves unrequited love among clowns. He is fucking a fellow actor, the magnificent Pietro Rosselli (as Canio, the leader of the players), but carrying on a major side-affair with the legendary Max Orloff (as Silvio, a villager). But as much of a slut as he is, Slava (as Nello, Canio's lover) is being pursued by another, Iván Andros (as Tonio, a clown) whom Slava has no time for. There's the conflict, there's the set-up for the music, and it works.
Kazan uses the prologue from the opera to set the mood and introduce the plot, such as it is; it's lip-synched in clown face by Sergio Perrini, and fades into Slava and Pietro kissing in their Speedos on a rocky beach. Slava is a muscled dirty-blond Eastern European with a wide face, heavy eyelids, pouty lips, magnificent cock and bubble-butt. Pietro is every Italian matinee idol fantasy come true -- dark-haired, fair-skinned, aquiline nose, chiseled chin, fabulous body, cock to die for, ass needing some fucking. They couple on the rocks and move to the tent where Pietro licks Slava all over, fingers his butt, tosses him on a table, and applies his tongue from Slava's pucker, up his fat, rounded balls and along his slightly crooked cock shaft, pausing here and there to plunge his tongue in the hole as the strains of the opera underscore the scene (scored by Andrea Ruscelli and Matt Locke on piano, violin and flute). He stands up and sticks his fat Italian sausage in Slava's well-prepped hole and fucks him slowly missionary until streams of cum spurt from his lover's cock. Pietro pulls out and spurts his cream from a remarkably similar looking, uncut shaft, all over Slava's crotch. Pietro then turns around and invites Slava to toss his cock into his Italian melon. In this and all other scenes, the camera work is exceptionally crisp, framed right all the time (the close-ups are not overly long, the pan shots are closely cropped). Slava cums in deep spurts on Pietro's cheeky butt, and drops to his knees to bring his lover off.
We now move to three extraordinarily masculine muscle gods who are practicing their gymnastic routine under the big top. They are led by the coach, Vilem Cage, the Czech super god who gives one of his best, least detached performances in this scene. He is joined by a baby-faced, tattooed power pack of muscle and cock power, Max Veneziano, who is a cross between beautiful and cute. The trio is completed by the astonishing Antonio Armani, a graying hunk in the mold of Kazan's great discoveries of the past, Pietro Catani. These three, bare-chested and in clinking gym pants, help each other through their paces in a languid, sensuous, body- and cock-rubbing orgy of foreplay before Vilem and Max -- cocks at full mast through their pants -- stand on a bench and invite Antonio to start the action. He sucks them both forcefully before they form a ladder of cocksucking in which all show superb oral skills, but most particularly Vilem Cage. This unredeemed top often gives the impression of nonchalance in his approach to sex, but here he is into cock, especially when he swallows Max's sharply upturned, long, fat pole and brings him off to a truly fountain-like climax. The three move to a table where Antonio kneels, and Max slurps his hole as Vilem gets on his knees and pulls Max's cock through his cheeks and gobbles it down, taking time off to lick the balls and Max's crack. Now we're ready for a truly remarkable fuck session. Antonio goes to a wire hoop that is hanging from the ceiling, brings one foot up to be able to offer his butt to Vilem and then opens his mouth as Max stuffs his cheeks. Then Antonio puts his other leg in the hoop and they spin him around so that Max can fuck him and Vilem can feed his face. At this point the music stops and the breathing, moaning and dirty-talk take over -- but it's the pan shots that show Vilem completely entranced by Max, which give the scene the extra heat such three-ways so often lack. Antonio shows himself to be a remarkable sex-dog here, and he is hands-down the biggest pig in the flick. The two tops spin him around again, Vilem shoves his beautiful dick up the cavity again, gives it a few pumps, pulls out and covers Antonio's ass with cum as Max spurts a monster load all over Antonio's cheeks and face. They move to another bench where Vilem and Max begin to kiss passionately, only to have Antonio come in for a mouth-to-mouth-to-mouth session before he sits on Max's cock as Vilem engorges his cock, licks his body and helps Max lift him on and off his cock that eventually explodes while Vilem is still glued to Antonio's shaft. Antonio then reclines on a couch and Vilem goes back to worshipping his shaft, bringing him off in very thick, sticky gobs that Vilem washes his hands in as he licks Antonio's balls.
Outside the tent, Iván Andros approaches the shirtless Slava and professes his lust, and is pushed away. Iván threatens to get even. Who shows up but Max Orloff, who confesses his love and the two go inside the tent. As soon as Max comes into the scene, you imagine that this might be someone else. Surely one of the most popular hunks to emerge from the Czech Republic in the past decade, Max has lost some of his bulk, got a new more conservative "do," and looks 10 years younger -- and more Mediterranean -- than he did in his past several movies. He also seems a bit more interested in foreplay as he and Slava put on a show in the tent, kissing, licking and groping while a bitterly jealous Iván looks on, spying and crying and stroking (well, this is a porn flick, no?). One thing about Max that hasn't changed, however, is his cock -- long, fat, straight, beautifully sculptured, eager for mouth and ass. Slava worships it on his knees as Max leans back against a pole, undulating, then bucking, then shooting a load on Slava's shoulder. Max drops to his knees and goes for Slava's pretty pecker, which has a conveniently down-turned head that Max uses to pivot his mouth and throat on. Unlike some of his other performances in which he tippy-tips the cock, this time Max goes wild (at least for him). For those who may have become a bit cynical about his persona on screen, this performance will shake you up -- it's his comeback, and may qualify for an award for best blowjob of the year. (Indeed, the cock-worship exhibited by both Max Orloff and Vilem Cage in this flick is a tribute to Kazan's motivation and direction -- a brilliant achievement.) After Slava shoots his load, he turns around and offers his ass to Max, and a few minutes later, pulls out for a no-hands cum-shot over Slava's back. Slava cums and then drops down to worship Max's honker again as Iván, who has just spurt himself, runs off. Slava then leans Max back on the table and throws his legs in the air and sends his shaft up that beautiful, round, rarely pounded hole. Max sways to and fro and Slava pulls out, squirts another big load and Max does the same. Not a hair has been mussed on his head.
They move outside and as they kiss, Iván shows up shoving Pietro toward them. Enraged, Pietro chases Max off, demanding that Slava tell him who the boy was, but Iván convinces Pietro to go on with the show. We see Pietro putting on his make-up, daydreaming of the days he spent at the beach with Slava. Meanwhile, the show is beginning, and backstage, Iván and his cohorts are taking a break from their chores to get into some action. This is what has become the obligatory Kazan orgy scene, totally unrelated to the plot, but a good opportunity to fill our eyes with some astounding flesh and action. Iván sucks off hunky Cesar Moreno while Tiziano Cortez, a blond Kazan muscle god, is being worshipped by Antton Harri, an exceptionally handsome college-jock type who reminds me of mid-1990s porn puppy Brent Cross, but with more bulk. The foursome switch positions and partners, with Tiziano and Cesar serving as tops. Iván and Antton are the bottoms here, and a grand one Antton proves to be. (He is destined for a more romantic setting if he, and his director, are willing.) The scene ends with a sly look between him and Iván, a segue that you should catch to appreciate how Kazan does have a tendency to bring things full circle. Meanwhile, on stage, Pietro and Slava, who are the play's protagonists, meet and play out their destiny.
Well, okay, no tears came to my eyes, but it's a perfect ending to a perfectly marvelous movie, filled with stunning men, three of whom -- Vilem Cage, Max Orloff and Antonio Armani -- give what can only be described as star turns. Slava and Pietro are exceptional as lovers and even as actors, and Max Veneziano and Antton Harri look like absolute naturals for something in which they can be featured performers (they'd make a great older-younger pair). But the cast is really an ensemble, subtly handled and brilliantly directed by one of the most creative artists in the field. Once again, Signor Kazan: "Bravissimo!"
DVD features: The full-length feature; interactive menus; chapter selections; slide-show gallery; and no regional coding (playable worldwide).
A DVD Review by Bo Champion (
Loosely suggested by the classic opera, "Pagliacci," Lucas Kazan's latest production, Under the Big Top, generderfucks the original, wisely simplifies the tale of love and jealousy, and focuses more on the flesh than the music. This is all to the good, for in the process, the veteran director has created the best film of his career thus far - well, at least, three-quarters of the best film of his career. Comprised of only four sex scenes, the production simply soars during the first three, but the final episode does not begin to reach the heights of what has gone before.
This explicit, revised version of "Pagliacci," tells the tale of a circus clown (Slava Petrovich) nearing the end of his affair with a fellow clown (Pietro Rosselli) because he has met someone new (Max Orloff aka Jan Dvorak)). The plot is thickened by another member of the troupe (Ivan Andros) who is in love with and rejected by Petrovich. Kazan is far more successful in the sex scenes than in the narrative, especially the sung prologue that seems strictly for the opera queens among us. Once the sex begins, however, the film becomes magically entrancing.
Petrovich and Rosselli are introduced in what appears to be a soft-focus flashback, clearly in the throes of first love, spending an afternoon on the rocky cliffs overlooking the restless sea below. Soon the action dissolves to the world of the circus. Time has passed, and their lovemaking, while still highly charged, oozes with the familiarity that only longtime lovers can know. Rosselli, who looks a bit like Antonio Banderas, is on his knees, tenderly worshipping Petrovich's airborne cock. Between slurps, he whispers sweet nothings and truly makes love to that twitching, bouncing hard-on. He licks, laps, slathers and plays foreskin games with his lover's heavily veined shaft and the plum-head that peeks out of the skin. As for Petrovich, he vibrates at each touch as if he were on the edge of a precipice, about to jump.
When they shift into the anal action. Rosselli rims, tongue-fucks, fingers and effortlessly slides between Petrovich's granite glutes. They fuck with great familiarity, and soon Petrovich has creamed off while plugged. Rosselli explodes a moment later, and in a whisk, Petrovich has shifted to top. Both men are equally versatile, and to watch them change roles is one of the joys of the scene. The second set of money shots is as hot as the first, but the sequence ends on a foreboding note, a shot of Petrovich, his face riddled with guilty indecision. Here, the erotic and the dramatic have melded perfectly.
For pure lubricious excitement, Kazan has never created a more electrifying scene than the next one. In it, three acrobats (that paradigm of masculinity Vilem Cage, that glamorous butch bottom Antonio Armani and heart-stopping newcomer Max Veneziano) are warming up for the show. Their calisthenics become some of the most tantalizing foreplay we have ever seen, and long before there is any explicit action, all three are sporting raging hard-ons that tent their second-skin tights.
Soon Cage and Veneziano are posed against the bars of a cage to be serviced by the voracious Armani. Especially watchable is Veneziano - with his boy's face and man's body - as he revels in the games they are playing. In time, they shift into a tower of human flesh as the kneeling Cage sucks the standing Venziano who is simultaneously sucking Armani above him. Both Cage and Veneziano come with their mouths full of cock, and the newcomer's entire body convulses spasmodically as he explodes. Even so, it is Cage who takes center stage. We have never seen him quite so involved, quite so abandoned, quite so hungry as he is when servicing Veneziano. For the first time in his long screen career, one can easily believe he really has the hots for a guy.
It is Armani who serves as utility bottom during the anal portion of the scene, poised in a suspended chromium hoop - the sort that lions leap through - as the other two take turns filling him fore and aft. Here Cage delivers a breathtaking no-handed money shot before all three snuggle up for some serious kissing and sucking. Cage gives the other two a pair of handjobs to remember. He and Armani have never been better, Veneziano is the find of the film, and the scene is, in a word, splendiferous.
So is the next one, in which Petrovich has a secret matinee with his new lover, the sleekly handsome Orloff - as the smitten Andros watches, seethes and jacks off. Andros's bug-eyed, over-the-top angst reminds us a bit too much of Peter Lorre in his early days, but he is used sparingly, and focus remains mostly on the two new lovers who all but levitate with the first flush of lust. Tongue kissing and crotch groping give way to Petrovich kneeling and sucking his new love to a propulsive orgasm. Arrows of Orloff's jism fire into the air before he kneels to reciprocate, and Petrovich soon releases long ropes of cum in what seems to be an absolutely apocalyptic experience. As in the previous scenes, both performers make us believe they are truly in heat.
After a bit of cock teasing, Orloff slides into Petrovich's ass as easily as Rosselli did earlier, and they grind together in perfect tandem until Orloff pulls out and fires off, no-handed, then brings his partner to another soul-shattering explosion. That's when Andros also comes and then leaves. What he doesn't see is the final beat of the scene in which Petrovich lifts Orloff's legs into the air and plows into his nigh-perfect but seldom utilized ass. Both seem to be enraptured by the experience, and Orloff, fascinated by what is happening to him, gives in to the moment and brings himself off in another fusillade of spooge. Petrovich promptly follows suit, and the scene ends with a furtive kiss.
Unfortunately, Under the Big Top ends with its least interesting and most gratuitous scene - Andros goes off to fuck with Cesar Moreno, Tiziano Cortese and the mononamed Antton. Andros' overacting is in sharp contrast to Moreno's all-but somnambulistic performance, and the pro-forma disinterest of Cortese is made all the more evident by the youthful Antton's desperate attempts to please. The choreography is uninspired, the videography is standard, and each shot goes on far too long. It is a disappointing ending to an otherwise superb film.
Even so, viewers are urged to watch and delight in this flawed masterwork. Petrovich, Cage and Orloff are all at the top of their form, Veneziano is a major find, and for three-quarters of the way, Kazan comes close to giving us The Greatest Show on Earth.
- Jerry Douglas