Video language: English

Based on the sleazy autobiography of the same name, The Light from the Second Story Window recounts the story of a inexperienced juvenile chap (played by Dave Allen, celebrated for his performance in A Deep Compassion) who goes to Hollywood in search of "fame and fortune" but winds up working as a two-bit hustler. This movie scene delivers pre-condom sex at it is finest ... including an fantastic spunk fountain right in juvenile David Allen's face hole!
"When The Light from the Second Story Window premiered theatrically in 1973, critics were quick to heap praise upon the dramatic richness and epic scope of the production. Certainly, it was ambitious, perhaps the almost all ambitious homosexual adult film ever produced up to that time. The years, however, have not been kind to this cautionary tale of a Hollywood wannabe who becomes a doxy in advance of becoming a star. From the vantage point of the Nineties, what remains is (1) a gender-fucked wages-of-sin soap opera of the type in which Kay Francis and Norma Shearer used to wallow so extravagantly during the Thirties, and (2), a vanity production for David Allen, who wrote the screenplay (based on his novel), directed, and cast himself in the starring role, all likewise often forgetting the genre in which this guy had chosen to tell his tale - there is not one frame in the whole film of him at erection.
The 1st thing one sees as the film opens is the Greyhound Bus Depot in West Hollywood, where a blonde naif (Allen) steps off the bus to be met by a dark pimp (Winston Kramer) and a white drag queen (Richard Lindstrom). Soon this chab is at the home of a male madam (Brad Preston), and offered the proposition that if this guy puts out for clients in intimate settings and for the camera in fuck flicks, that guy will eventually be given a role in a mainstream film. There follows a mechanical sex scene in which an unsightly john and a disinterested lad toy go at it. Like almost any of such scenes in the film, this one has a starting (penetration) and an ending (the specie discharged, but very little midst, and no sense of a complete raunchy experience. The movie serves as an eye-opener for Allen, who (after being plied with and some type of 'pill') accedes to daybed down with the pimp, as type of an auditions. They kiss. Allen sucks and acquires drilled (although the anal act appears to be simulated, and neither has an on-camera jizz flow.
The 3rd and 4th explicit videos - of Allen with clients - are greater amount successful on a purely prurient level. The 1st, a threeway with a and poolside, includes Allen engulfing, rimming, and some other apparently simulated fuck. The other, featuring Cassidy as a closeted video star, clearly shows why that guy was one of the almost any popular early stars of the genre. The camera loved his chiseled features, gym-built physique, and sturdy erection, and this guy throws a definitely not-simulated fuck to the tiny golden-haired that culminates with a syrupy specie discharged all over Allen's tongue. But Allen's character is starting to regret his life of 'being constantly used.'
An 'acting workshop' for clients turns into a kaleidoscopically filmed fuckfest at which the cop on the take (Richard Lavette) selects Allen as his bonus of the day and subsequently puts him throughout a humiliatingly homophobic S&M exercise. This degradation prompts the onset of a nervous breakdown in which Allen attempts to ape Orson Welles' classic temper tantrum in Citizen Kane. This is followed in quick succession by Allen's encounter a fine, middle-aged gentleman (William Laskey) who raises snakes, intones the majority polemic dialogue in the film (all about love and craving, and eventually commits suicied; by Allen's becoming an overnight success as a legit movie scene star; and by by a celebration at a cabaret where a drag queen (Felisha Farr) lip-syncs 'Why Was I Born' and Allen meets the love of his life, some other wannabe, who is str8 (Ray Todd).
The wages-of-sin theme shifts to the hollowness-of-fame theme, as Allen not quite has sex with Todd (another sensation from the early days of porn); hires a hustler of his own (Joey Daniels) who turns out to be greater amount of a philosopher than a sexualist in a non-explicit scene; and lastly acquires Todd into his couch for the hottest sex scene in the clip and an ambiguous ending in which the str8 dude is gradually coming around ('Give me time... Don't shove me... You can't have anything And the film ends with a breathtaking freeze frame of Allen in front of a huge kleig light at yet some other premiere - rich, renowned, and alone.
Why, then, after all those years, should one bother to view - or review - this film? Well, for all it is flaws, The Light from the Second Story Window represents an earnest attempt to explore and exhibit human sexuality within a dramatic narrative structure, smth that was rarely being attempted in these days of furtive discharges in motel rooms. Clumsy as it may appear to be this day, LIGHT paved the way for other filmmakers who believed that the explicit film and the narrative could be melded, and now and anew, this one does rise above cliche

Format: Windows Media
Duration: 1:56:30
Video: 640x480, Windows Media Video 9, 1870kbps
Audio: 125kbps

File size: 1.7 GB