Starring: Ettore Tosi, Tiziano Cortese, Danille Barbareschi, Ciro Caputo, Fabio De' Rossi, Lucas Foz, Gennaro Grimaldi, Marco Merisi, Rafaello, Flavio Rossini, Roberto Rggiero, Edardo Souza, Francesco Storace.
Considering its pedigree, THE ROAD TO NAPLES should have and could been better. Stylishly photographed in the manner we're used to with a Lucas Kazan production, possibly the problems with THE ROAD TO NAPLES stem from putting stud muffin Ettore Tosi behind the camera as director. Purporting to be (and in actually, it is) a "Star Search: Italian Style," the lack of onscreen talent far outweighs the talent that we've seen in previous Lucas Kazan features. Even the Extra Features on the disc suffer in comparison to previous Kazan-produced dvds. The still gallery only highlights two of the models: Gennaro Grimaldi and Tiziano Cortese. Now, I could easily develop a serious crush on the former, while the latter seems to be a Tuscan version of the muscle-bound blonde bimbo; but more on both of these guys later. The stills run with classico music for a mere two-and-a-half-minutes. The "Behind the Scenes" feature has nothing on the making of the film, but rather is a short (three minutes) look at a photo shoot showcasing Ettore Tosi's ample charms.
Director Ettore Tosi opens the movie by telling us that he is traveling for several days in search of prospective models. This search goes from the coast of Spain to, where else?, Naples and combines travelogue footage between its six sexual scenes. Solos are not really my scene, but Edardo Souza provides a nifty seaside session. Souza is a muscular, but lithe, little guy, who goes full-throttle after the li'l monster hiding in his camouflage briefs. He is joined on his cliff by the very tall, very well-toned, very well-hung, well, just very, very Lucas Foz, who does a mock strip-tease while wanking away at his monumental tool. Both guys have a distinctly exotic look, Arabian or Turkish, though I wish they had moved from solo session into hot, heaving, sex on the beach.
Traveling east, the camera finds our cover boy, Tiziano Cortese: blond and buff, blessed with a set of pecs one could easily lose oneself in. And a hot Italian sausage just waiting to be chewed. Tiziano strokes his meat, tenderizing it for Ettore's gluttonous lips. Nothing much goes on - Tosi doesn't even get naked; making this a rather languid scene which barely builds to a climax.
At what appears to be a boy's school campus, Ettore engages THREE manly boys for a photo session. The photo session is where ROAD TO NAPLES finds its greatest strength, and produces one of its more memorable scenes. Tosi photographs Fabio De' Rossi against a white background, while his confreres, the one-name-only Raffaello and Marco Merisi, show their appreciation by allowing their dicks to rise for a standing ovation. The beauty of those two dicks, especially Marco's, isn't lost on Fabio; he gets down on his knees and sucks Marco to a copious climax. Neither Marco nor Raffaello remove their shirts, and Marco's passion potion remains boldly white upon his forest green t-shirt as he moves in for the fuck. Lucky Rafaello gets to feel the power of Marco's rod, while feasting on Fabio's tool. All three models are quite attractive, though Marco certainly held my interest more than Fabio; who would go on to other Lucas Kazan productions. Raffaello seems a little too youthful for my tastes; something which cannot be said for the following models.
I could easily make myself at home with Daniele Barbareschi and Flavio Rossini, who have a remarkable way of welcoming viewers into their kitchen. Long-time lovers, Daniele and Flavio demonstrate the best way to use up that glistening tiled counter: cook up a storm with hot sex. Following a little suck and rim session, Daniele flips Flavio over, leans him against the counter, and lets his dick do all the work. The fuck is made even more memorable by the steady, glittering stream of pre-cum that flows from Flavio's cock with each thrust that Daniele has to offer (Chapter 6, Time Code 55:36; for all interested parties). The fuck is also a nice example of a power struggle between top and bottom, a battle that is won by both parties, since Flavio shoots a copious load onto the counter. Neither man is a twink, oh, no, these two are very masculine and very intense, and it is quite obvious that these two men belong together.
The remainder of the film is filled with four solo sessions, all with dark-haired, and not always attractive men. I found Ciro's chest scar to be more interesting than what he was stroking through his boxer briefs, but once he whipped it out, he showed a set of monster balls, and a thick fur-surrounded dick whish barely rose to the occasion. Gennare Grimaldi (a highlight in ACROSS THE OCEAN) and Roberto Ruggiero (the lanky, long-haired highlight of A TASTE OF ITALY) share a couch, but nothing more as they solo side-by-side. Seeing Roberto in this session, though, made me wonder why he eventually got cast in TAST OF ITALY - he has none of the sexual energy he demonstrated there, and has a very difficult time getting hard. Gennaro distractedly chews gum, but at least is into what he's doing. Finally, there's Francesco Storace: and all I can say is "WHAT WERE THEY THINKING?" Now, I'll admit to a fondness for furry, dark-haired men with light-colored eyes and skin, but Francsco is photographed to appear pudgy and puffy, but God! That SMILE! Francesco barely strokes his hefty tool before he shoot a shoulder-reaching load. His dulcet Italian tones however, now, Francesco can call me anytime and whisper "dolce far niente*" into my ear, maybe with a little more guidance, he won't come so quickly.
I really wanted to like THE ROAD TO NAPLES, but, with only two scenes worthy of replay, I really have to travel down a different highway.
*Sweet little nothings