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This unusual feature film is a three-vignette fuck flick that doubles as a social commentary on Americans and their complex relationship with desire and authority. Director Rob Simple takes a bunch of stock porn characters an executive and office worker, woodsman and lawman, rich john and urban hooker and flips the power dynamic of each pairing completely on its head. The sex runs the gamut from raw to tender, but the real value of this 1970s Hand In Hand Films classic is as social critique, particularly through its raucous imagery – a power bottom squatting on the Washington Monument; a back-to-nature hippy taking a raw T-bone steak up the ass before grilling it over a campfire. Opening with The Office, a sunglassed executive (Robert Rikas) pulls out his file of head shots of macho men and whacks his knobby dick to fantasies of military men. Director Rob Simple (a.k.a. playwright Jean-Claude van Itallie) reveals the unquestioned authority and dominance of the white male executive in specific examples: his black secretary (Dorothy Deane, credited as Black Barbarella) enters the boss' signature on official papers and appears unfazed by his actions; his underling (Doug Romain) is summoned to Rob's office to participate in the boss' flights of fancy. Doug knows the drill and submits willingly. The office meanwhile is filled with jingoistic slogans to exhort him onward and upward to corporate success. Doug participates by entering his own fantasy world, transmuting his degradation and inferiority to fulfill his own desires. Defined and slender Doug rims his muscular, dark boss roughly and sucks his fat, wide bone. Robert then rims Doug's pale cheeks and pushes his tongue deep into Doug's crack before fucking him soundly on the floor. Turned on, Doug eroticizes found objects in the office, playing with a water bottle, telephone, and Robert's boot (which he tries to shove up his ass). Shots of Doug sitting down slowly onto Robert's stiff pole are intercut with images of an enormous ass squatting down on the Washington Monument and flash frames of Richard Nixon's craggy face, all set to a military marching band soundtrack. The preposterous imagery underscores some of USAmerica's cultural contradictions around sex – the overt phallic imagery throughout American culture vs. society's pent-up sexual tensions. In the context of the office-themed vignette, it is also an overt metaphor for the fucking of the average American worker. Doug becomes incensed and, in a rage, tears up Robert's office and throws the boss down for a furious humping on his desk, spanking and plowing Robert's upturned ass before splashing cum onto his face. Unlike standard fuck films, we are denied close-ups, penetration shots, and (mercifully) any dubbed moans and groans. What we do get is a rage-filled fuck, a concentrated burst of hatred. The second vignette, Country Lads, explores the role of lust in the American id. A New England sheriff (Sam Block, credited as "Buddy") comes upon two back-to-nature hippy types (Arch Sampson and Chuck Thomas) around a campfire in a snowy wood. The granolas are in the middle of some very creative play: in one jaw-dropping shot, one of them probes the other's furry ass with a raw T-bone steak! The sheriff joins in the fun, while a fascinated woodsman (Rikas again) strips naked and peeps from afar. Cut to Robert tearing across the snowy field, buck naked except for his black leather boots, hard cock bouncing with each stride, as the horny trio chase close behind. After catching him, the three hog-tie Robert over a sawhorse and the sheriff rams him violently while the hippies fuck nearby, yielding some fantastic footage of hairy men in side-by-side fucks. In the highly erotic and intimate Roles, a tuxedoed and elegant bon vivant (Tom Peterson) picks up Times Square rent boy Doug Romain. The whore is working an urban cow-gay look, with his white Levis split at the seams and laced up with rawhide. Back at Tom's apartment, Doug slowly strips, gets into a shower, and soaps his taut body as Tom voyeurs and jacks off. Lying in bed, Doug tongue-bathes his john, licking Tom's stocking-clad feet and letting him toe-fuck his ass. They kiss and rub their ever-hard dicks together, the mere touch sparking heat and dreamy longing. After mutual slurping on each other's love knob, Doug rides Tom's proffered ass with his cockringed hard-on and pleases him demonstrably, and the pair laugh and smile in satisfaction. Jump-cut back to Times Square with the cowboy exiting the Mercedes except it turns out the hooker is Tom, who has just changed costumes and roles to please his trick, Doug. The scene is a powerful comment on role playing. The juxtaposition of the well-heeled Tom and the rough and studly Doug and the ease with which they swap roles speaks both to the social mobility of USAmerican society and the American myth of personal reinvention. An artfully wrought, highly sensual delight, this film explores nearly the entire gamut of sexual fetish, including feet, guns, bondage, leather, boots, and objects. A well-paced and insightful socio-political satire, the sex alone is hot enough for several viewings. Called "one of the best porno flicks ever" by the Village Voice, this 1972 Hand In Hand release was originally shot on film and has been fully remastered and color corrected for DVD release. Classic Bareback / Pre-Condom / No Condoms.
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