Deny, a gorgeous blond beauty, has temporarily left his nymphomaniac wife to in order to be able to finish his thesis. (I know this only because there is one of the extra sections of the DVD that gives me this plot synopsis, otherwise I would never know she was a nympho wearing out his pecker.) He goes to his friend Rogerís (Janos Volt) who is gay. No sooner does he arrive than he overhears an argument between the chauffeur (Alex) and Michel, Rogerís muscle stud (Antonio). Alex is trying to get the hunk to run away with him, but Michel doesnít want to leave his sugar daddy. Alex is a handsome blond with bit of facial hair and the bluest eyes I have ever seen. Iíd run away with him in a second. Drawn to the door by their argument, Deny watches as they suck each otherís dicks and as Alex fucks the muscle boy. Deny is upset but intrigued by all this. I suppose he is struggling to deny his feelings. The cum shots are replayed in black and white, an annoying mannerism of this director. When Deny recalls the scene in bed that night, the black and white makes sense. But at other times itís just a fucking distraction. GAY CULTURE this directorís previous film was a disaster from using this technique ad nauseam. Here he has used it with more restraint (except in one scene.) I have no idea why he wants to screw his films up like this. Besides, the black and white is blurry.
Next day Janos joins Deny in the sauna. He leaves almost immediately to get the butler (Sasha) to come massage Deny's foot. That is not what Sasha massages, however. Deny not only permits Sashaís sucking, but sucks Sashaís dick a bit before fucking him. (Note: butlers really should not wear lipstick.) Again we get a replay of the cum shots in black and white. What the hell for?
Rogerís friend Bruce arrives for a visit. As Roger and Michel sit by the indoor pool, they discuss Bruceís sexual preference. Roger says he is gay; the muscle boy says he isnít. (Come on! Heís named Bruce, Stupid.) As Roger dives into the pool, Michel finds out about Bruce and they start making out. Roger gets out and joins them. The chauffeur Alex appears at the door and sees his love pigging out on two dicks. He watches sadly as Michel is fucked by Roger while sucking Bruceís cock. (Your love is a slut, sweetie.)
The following morning Deny, disturbed by his feelings, decides to leave. As they are getting into the car Sasha hands Roger a note telling of the affair between Alex and Michel. Roger fires Alex on the spot. (He can come drive for me.) Deny has to drive the car to the airport.
While Roger is gone Viper delivers a package for him and he and Sasha go to it. Now Sasha is not attractive enough to have two sex scenes. (Heís the least attractive actor here). It doesnít matter though, because the director has chosen this moment to go absolutely insane with lapsing in and out of black and white and color. So, as I wasnít getting into the scene with all this nonsense, the only thing to do was fast-forward.
We next see Roger with three friends, one of whom is the incomparable George Vidanov. Roger tells them he has forgiven Michel. (Well, itís hard to find a muscle slut.) These four start making out, but itís not a true foursome, as they pair off. George tops in the scene. A pity, since heís such a great bottom. I was afraid to relax and get with the scene for fear it would plunge into blurry black and white at any moment. It didn't. But it was a pretty dull scene. Not at all what it could have been.
We last see Deny, who has just fucked his wife, thinking he might have stayed at Rogerís a while longer.
I like films with a plot. But only when they carry though and give us all the info. This plot violated Markís Twainís rules, which I have adapted to fit this situation:
1. That a plot shall accomplish something and arrive somewhere. But this plot accomplishes nothing and arrives in air.
2. They require that the episodes in a plot shall be necessary parts of the tale, and shall help to develop it. But as the this plot is not a plot, and accomplishes nothing and arrives nowhere, the episodes have no rightful place in the work, since there was nothing for them to develop.
3. They require that when the personages of a tale deal in conversation, the talk shall sound like human talk, and be talk such as human beings would be likely to talk in the given circumstances, and have a discoverable meaning, also a discoverable purpose, and a show of relevancy, and remain in the neighborhood of the subject at hand, and be interesting to the viewer, and help out the tale, and stop when the people cannot think of anything more to say. But this requirement has been ignored from the beginning of the film to the end of it.
You can choose between hearing the dialogue in English, Spanish, German, Italian, or French. The English is pretty awful. The Spanish is silly. The Italian is so-so. The German has the dialogue in English with one of those strident narrators telling everything in German. The French is the best. Watch it in that one. (Donít speak French? It wonít matter.)