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(sealed) 10 Toby Ross Theatrical Features From The Golden Age DVD (2015) Gay Porn Male Nudes
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This listed is for a sealed copy of 10 DVDs in collectors case. These are the notorious TEN films Toby Ross made in the 70s and early 80s which played in the Art Houses back in the day. Schoolmates, Do Me Evil, Reflections of Youth, Boys of the Slums, The Last Surfer, The Diary ,Twins, White Trash, Golden Years and Cruisin’ 57. Featuring actors: Bill Eld, Jake Scott, Jake Stryker, Timothy Long, and Toby Ross; Format: NTSC. Runtime: 12 hours and 30 minutes.
The Good, the Bad, and the Sexy
Reviewed in the United States on February 4, 2017
1970s hardcore gay porn, shot in 8 and 16mm with a lot of cute San Francisco blonds, gingers, and especially brunettes.
All the films are in Academy ratio (1:33:1), and these are the same discs available separately through BijouWorld, but they're packaged here in a big black clamshell: ten discs with no special features except for some trailers, and the Toby Ross interviews on the more professionally produced BDF discs (THE DIARY and THE LAST SURFER).
The discs for REFLECTIONS OF YOUTH (1975) and BOYS OF THE SLUMS (1976) were mislabeled, which wasn't a promising start, but the films themselves are hot as hell; typical of the times, there isn't a condom in sight. They're both plotless recyclings of Ross's silent 8mm porn loops (blown up to 16mm), strung together with new footage, including amateurish dialogue plus a musical soundtrack. The (white) boys of the slums are squatting together in a shack somewhere in the sticks, dreaming of someday making it to the big city.
REFLECTIONS is about two horny high school boys getting it on, then reminiscing about other horny high school boys.
CRUISIN' 57 (1975), with a soundtrack full of unlicensed doo-wop and period DJ radio patter, is a gay porn AMERICAN GRAFFITI, with a cast of appealingly gawky boy-next-door types, completely believable as horny, awkward high school kids desperate to look and sound cool at all costs. Performer Michael Muni dominates the second half of the film, appearing in a solo j/o scene and bottoming twice, the second time in a garage scene (with Kevin Gladstone) that ends in a spectacularly messy cumshot.
SCHOOLMATES (1976) suffers from atrocious audio (the soundtrack's deafening hiss never lets up), and from an odd decision to slow the movie down with two consecutive solo j/o scenes. Other'n that, it's another collection of silent porn loops with a weirdly flat narration by two foxy college freshmen. Beware the film's final sex scene, which takes forever to get started and is prefaced with several minutes' worth of mind-numbingly stupid dialogue.
DO ME EVIL (1975) begins with a nude pianist playing Beethoven's "Für Elise," and a slow pan that reveals a woman and two children sitting in the same room, listening. This is the aggressively outré opening of Ross's first art-porn feature, and Mike Daniels, the best actor Ross had hired up to that time, carries the film as a male prostitute in an abusive, incestuous relationship with his younger brother (Glenn Parmelay). The downward spiral of Daniels's character veers from depressing psychodrama to strokeworthy sex scenes and back again, without ever finding a comfortable middle ground.
On-camera incest, gay or straight, is the holy grail of hardcore porn, and in the you've-gotta-see-it-to-believe-it TWINS (1981) Ross finds not just one but three sets of identical twin brothers willing to have sex with each other on film.
You'll recognize a couple of very well-known rock bands whose ripped-off music is all over the soundtrack of WHITE TRASH (1977), a particularly murky 8mm loopfest. My favorite segment features two burglars who drop everything in the middle of a break-in to page through an issue of HUSTLER and then start in on each other, but the following vignette suffers from incoherent editing, and the concluding scene isn't much better.
GOLDEN YEARS (1982) sets up a postapocalyptic sci-fi framing device for -- what else? -- another collection of '70s porn loops. Ross himself is on camera, watching his own work, but the print is damaged and the ending makes no sense whatsoever.
THE DIARY (1982), made with a bigger budget, a tighter script, and a New York producer, is Ross's "end of an era" film: goodbye joyous 'seventies, hello scary-new-world 'eighties.
THE LAST SURFER (1983), one of the last porn features shot on film instead of video, is a 1966 period piece set in the West Coast surfing world and stars strapping gay porn star Michael Christopher (a William Higgins regular). It isn't a feel-good movie: it's a bittersweet celebration of life's last golden summer, in which the big sex scene between Christopher and narrator Jake Folgers is abruptly curtailed by a litany of deaths, disappointments, and compromises awaiting the characters in the near future.
The Good, the Bad, and the Sexy
Reviewed in the United States on February 4, 2017
1970s hardcore gay porn, shot in 8 and 16mm with a lot of cute San Francisco blonds, gingers, and especially brunettes.
All the films are in Academy ratio (1:33:1), and these are the same discs available separately through BijouWorld, but they're packaged here in a big black clamshell: ten discs with no special features except for some trailers, and the Toby Ross interviews on the more professionally produced BDF discs (THE DIARY and THE LAST SURFER).
The discs for REFLECTIONS OF YOUTH (1975) and BOYS OF THE SLUMS (1976) were mislabeled, which wasn't a promising start, but the films themselves are hot as hell; typical of the times, there isn't a condom in sight. They're both plotless recyclings of Ross's silent 8mm porn loops (blown up to 16mm), strung together with new footage, including amateurish dialogue plus a musical soundtrack. The (white) boys of the slums are squatting together in a shack somewhere in the sticks, dreaming of someday making it to the big city.
REFLECTIONS is about two horny high school boys getting it on, then reminiscing about other horny high school boys.
CRUISIN' 57 (1975), with a soundtrack full of unlicensed doo-wop and period DJ radio patter, is a gay porn AMERICAN GRAFFITI, with a cast of appealingly gawky boy-next-door types, completely believable as horny, awkward high school kids desperate to look and sound cool at all costs. Performer Michael Muni dominates the second half of the film, appearing in a solo j/o scene and bottoming twice, the second time in a garage scene (with Kevin Gladstone) that ends in a spectacularly messy cumshot.
SCHOOLMATES (1976) suffers from atrocious audio (the soundtrack's deafening hiss never lets up), and from an odd decision to slow the movie down with two consecutive solo j/o scenes. Other'n that, it's another collection of silent porn loops with a weirdly flat narration by two foxy college freshmen. Beware the film's final sex scene, which takes forever to get started and is prefaced with several minutes' worth of mind-numbingly stupid dialogue.
DO ME EVIL (1975) begins with a nude pianist playing Beethoven's "Für Elise," and a slow pan that reveals a woman and two children sitting in the same room, listening. This is the aggressively outré opening of Ross's first art-porn feature, and Mike Daniels, the best actor Ross had hired up to that time, carries the film as a male prostitute in an abusive, incestuous relationship with his younger brother (Glenn Parmelay). The downward spiral of Daniels's character veers from depressing psychodrama to strokeworthy sex scenes and back again, without ever finding a comfortable middle ground.
On-camera incest, gay or straight, is the holy grail of hardcore porn, and in the you've-gotta-see-it-to-believe-it TWINS (1981) Ross finds not just one but three sets of identical twin brothers willing to have sex with each other on film.
You'll recognize a couple of very well-known rock bands whose ripped-off music is all over the soundtrack of WHITE TRASH (1977), a particularly murky 8mm loopfest. My favorite segment features two burglars who drop everything in the middle of a break-in to page through an issue of HUSTLER and then start in on each other, but the following vignette suffers from incoherent editing, and the concluding scene isn't much better.
GOLDEN YEARS (1982) sets up a postapocalyptic sci-fi framing device for -- what else? -- another collection of '70s porn loops. Ross himself is on camera, watching his own work, but the print is damaged and the ending makes no sense whatsoever.
THE DIARY (1982), made with a bigger budget, a tighter script, and a New York producer, is Ross's "end of an era" film: goodbye joyous 'seventies, hello scary-new-world 'eighties.
THE LAST SURFER (1983), one of the last porn features shot on film instead of video, is a 1966 period piece set in the West Coast surfing world and stars strapping gay porn star Michael Christopher (a William Higgins regular). It isn't a feel-good movie: it's a bittersweet celebration of life's last golden summer, in which the big sex scene between Christopher and narrator Jake Folgers is abruptly curtailed by a litany of deaths, disappointments, and compromises awaiting the characters in the near future.
