Filmmaker Lucas Kazan continues his unique approach of combining sensual gay erotica with rich European cultural history in the artful Backstage.
In the movie, its characters are filming an X-rated version of the opera La Traviata. Naturally the director (Giorgio Salieri)
begins living out the classic opera's story in his own mind.
In the 19th century Italian opera, the main character falls hopelessly in love with someone, who unfortunately only wants to be friends. Here Salieri
silently longs for the sleek Sasha Byazrov, however as opposed to most traditional operas, this character does not ultimately fling himself into space,
or die of tragic disease just after their epiphany.
If you have seen the opera (and everyone should) then watching Backstage is all the more satisfying. But just anyone looking for
sensuous mansex from probably the finest assembly of gorgeous models will not be disappointed.
The producers mix some of the actual overture music from La Traviata, which an accompaniment of driving modern electronic beats throughout the sex scenes.
The first action scene begins with
Mario Perez (Journey to Greece), David Scott and David Havien in a lineup eating each other's perfectly smooth asses.
They coil into a triangle so the viewer sees that Scott and Perez wield really thick cocks.
In one beautiful moment, a rockhard Perez takes Havien in his ass while gorging his mouth on Scott own can-sized cock. The three perform on a stage draped in
scarlet red curtains, creating a memorable color palette around the humping models. Perez is the standout here. He tops
both Scott and Havien, culminating with squirting a king-sized load.
Following the day's shooting, the brooding Salieri leaves the set thinking of his love. There is a nice intermezzo of the
picture perfect Byazrov posing around the pool.
The next day they are filming a famous sequence from La Traviata which evolves into a lusty duet between Maximo Italiano Max Veneziano and new
bombshell musclebottom Eric Flower. (both independently strut their stuff in Kazan's Hotel Italia 2: The Innkeeper)
Veneziano fans will notice that he's grown his hair out, making him look completely different. His manrammer cock hasn't changed, however. And he gives
Flower a full-power plowing.
This doggie duet finishes with Veneziano coating the bottom's ass with white cum. After watching some of it run down slowly, we are treated to
an undershot of Flower's own sweet, creamy release.
After this, Salieri and crew audition newcomer Ricky Martinez (Love and Lust),
who turns in an award winning solo performance. Stripping out of his clothes,
turns out Martinez has a perfect muscular body, attractive uncut cock and mouthwatering buns. He and the director interact verbally, which is
nice.
After squeezing out his juice, he starts stepping back into his jeans (erect). He is propositioned by electrician Matthias Vannelli, a beefy
fair Italian with another one of those thick cocks that run rampant on this particular opera set.
Even while getting blown, he Vannelli can't keep his grabbing hands off Martinez's cheeks.
Vannelli has another one of these cocks shaped like a can of Red Bull. Martinez takes it all in his ass, making for a mind blowing cocktail.
Standing in a black-painted bar, the model's features are bathed in jet blue light as they hump.
After watching Vannelli's thunderous balls slamming against the latino's smooth skin, he explodes. Martinez delivers a mouthwatering
no-hands money shot that slowly runs down his shaft and drips to the floor.
The final scene starts with Byazrov filming his love scene with Ettore Tosi (in a non-sexual cameo). However Salieri images the entire
flip-flop sequence with him in Tosi's place. They perform their sequence of romantic cock-sucking, kissing, groping and screwing
on a table.
Salieri bends down to give Byazrov an enthusiastic blowjob, which makes him blow his first money shot. Byazrov reciprocates, which is followed
by a lengthy sequence of Salieri topping Byazrov, and vice versa. Watching these beautiful guys perform is captivating.
Actually, both models spend most of their screen time in other films bottoming. Watching them top each other is an inspired bit of casting.
And they ultimately finish with an even more explosive round of creamy money shots.
How does Backstage conclude? Is real life just like Italian opera? Is Byazrov going to have his epiphany, realizing
love for Salieri just before a tragic death? Life rarely ends so conclusively, so most of us just have to continue on with our dreams, passions
and quest for intimacy.
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