It’s August 1894 and in true homage to von Gloeden two charming lads are photographed in revealing Roman attire. Jean-Paul Guerin and Gaston Pourcin are the pretty youths with flowers in their hair. There’s no hardcore sex, but it’s charming and very erotic nonetheless.
October 1894 gives us a solo from young Jean-Pierre Chevalier.
Jason Ace, a pretty lad with shaggy hair, plays a retarded youth. We first see him in the Spring of 1897 dancing through the woods as two toughs (Ivo and Matheus) laugh at his antics. But before they take advantage of Jason’s mental impairment we return to the studio for another solo. This time the soloist on the flesh flute is Simone de Jesus who brings things to a climax by finger-fucking himself.
Returning now to Jason we find his would-be seducers tempting him with marbles to show them his cock—it’s a big one—and his ass—it’s a nice one. A trail of marbles leads him to the barn where, among the bales of hay, other marbles tempt him to suck Ivo’s cock and offer up his ass for Ivo’s pleasure.
Winter 1904. The sexy macho Fred Faurtin sits in a chair beside a washtub and an open fire. He washes his feet and begins stroking his dick. Jason peeps in the window. He taps on the glass with a marble and is invited in. He kneels beside the masturbating Faurtin and puts his head on Faurtin’s chest. Faurtin strokes his hair. Not only is there no sex between them, Fred doesn’t ejaculate. It's still "erotique".
A photo session follows with Jeremy Spike and Nicholas Becart. They are the most muscular duo in the film. Nicholas is the film’s handsomest stud. There is languorous cocksucking from both. Nicholas’ hairless ass looks extremely tasty as Jeremy eats it out. Nicholas sits on the stiff prick. He likes it. So do I.
It’s now the Summer of 1912. Two handsome guys (Igor George and Antoine Romero) are sitting naked at a table in an attractive staged setting. They are pretending to play cards. We get close-ups of their lovely uncut cocks. Igor licks Antoine’s foot causing the glans to peep from Antoine’s foreskin. Igor licks down Antoine’s body and swallows his cock. After feigning a bit of card-play, Antoine gets up, and kneeling before Igor, sucks down his dick. Returning to his chair they jack off.
It’s time for the photographer to move on (perhaps to Sicily). Ivo, Matheus, Fred and Jason who are seated in the hay barn tell him to come back soon. They then decide to cum sooner. Finally young Jason gets his cock sucked as Matheus does the honors. Ivo gives head to Fred. Fred returns the favor. Ivo also has a go at Jason’s big tool as the others pair off.
Fred eats out Jason’s ass; Ivo eats out Matheus’. Jason then rims Ivo and Matheus rims Fred. Fred plants his cock in Ivo’s butt and plows it as Ivo sucks Jason. Ivo sits all the way down on Fred’s rampant prick until his balls are resting on Fred’s. Everyone jacks off and cums to conclude the scene and end the film.
I have a slight problem besides the awful cover. I was always told never to use familiar music unless you are making a comment on it ala Kubrick. Using the Moonlight Sonata for Faurtin’s dick stroking and Bach for fucking, along with other well-known pieces, is more of a distraction than an aid. (Of course with 20 children Bach himself obviously did a lot of fucking.) Other than that I was highly entertained.
FRENCH FARMERS is very reminiscent of the French master Cadinot. It is only natural that a French director would be influenced by him.
It’s a film that—like escargot—may not be to everyone’s taste. But if you are tired of the same old suck-n-fucks and want something different—this is it. Vive la difference!
There was an old World War I song that went “How you gonna keep ‘em down on the farm after they’ve seen Paris?” These French farmers are the answer to that.