Bullet Videopac: Houseboat: "Houseboat" finds Rod Mitchell cruising down the river. He meets Kyle Hazard in his canoe, and soon Rod has his dick down his throat all the way to the balls while they’re 69ing. Eventually Kyle shoves his big cock up Rod’s hole, and then jacks off a good-sized load, which Rod licks up. Rod Mitchell steals the show, though, and shows us what a real man does with a cock. Originally a Bullet Productions release. Year Released: 1982. Studio: Bullet Productions.
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Bullet Videopac: On the Beach: In "On the Beach," Barry thinks he’s alone and starts to play with himself, but Tom Fox sees him. Taking off his leather chaps, cowboy hat and vest, he fondles Barry’s cock, and then he goes down on him. Tom eats out the hunk’s asshole while he pulls his pud. Barry then fucks Tom, using spit for lube. Year Released: 1982. Studio: Bullet Productions.
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Bullet Videopac: When Strangers Meet: Next, in "When Strangers Meet," Jeremy Brent and Rod Mitchell go at it 69-style (on a cot) and fuck each other in turn on an open patio. Jeremy pulls his cock out of Rod’s doggie-style ass to end the scene and jacks off a good-sized load that streams and shoots all the way up to Ron’s head. Year Released: 1982. Studio: Bullet Productions.
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Best Of Surge VOL 1: This vintage gay sex movie is a compilation featuring some of the hottest and most unique scenes from Al Parker’s Surge Studios films. Al Parker wanted to be his own boss and saw opportunities to make money by producing his own product, and thus he and his boyfriend, started Surge Studios. Consistent features in a "Surge Studios" film included well-lit scenes, complex camera angles, and slow-motion "money shots" at the point of climax. Overall, these vintage gay movies focus intently on how raw, rough, masculine sex drives a variety of exciting male-on-male interactions. Scene from Therapy: Despite the threat of arrest, Shawn Roberts can’t stop having sex in public washrooms when he sees blond and cute Drake Cass’s beautifully uncut and long cock poking through a glory hole. Shawn licks the shiny cockhead through the foreskin as he plays with his own penis and rubs the nipples protruding from his hairy chest. Shawn ends up taking the dude’s cum on his face. Scene from Strange Places, Strange Things: Maintenance men David Ashfield and Michael Charles start of the flick by taking a break on a gas main and getting out of their overalls in a dirty underground tunnel. Charles shares blowjobs with Ashfield and gives a good display of cock-sucking before taking bone up his chute and blowing his load. Scene from Hard Disk Drive: Scott Avery lies in a motel room whacking his truly prodigious endowment as a hunky, muscular, hairy older gent voyeurs him, jerking his thick, uncut sausage in rhythm. Breaking in, he quickly gulps Scott’s long pole, then tops him for too-brief 69 action. This daddy type knows how to treat a young punk like Scott, and kneads his beefy buns and spreads his cheeks wide for deep tongue-rimming, all wonderfully captured by the now energized cameras. With long, painful storkes, daddy plunders Scott’s tender hole, pulling all the way out of him and beginning again by ramming him viciously. Scene from One in a Billion: On the way to the office, Dave and another businessman, Glenn Steers, get it on in a glass elevator. Steers, with his own large boner, a hairy chest and outstanding nipples, strips with Dave and shoves his tool up the big man’s ass. Scene from Head Trips: The second fantasizer takes a seat in the sci-fi wishing chair that grants fantasies at the drop of coin and orders up a suck scene with none other than Al Parker. Al sucks the guy’s dick on a blacked out soundstage, then the boys trade off on oral with some 69 on the floor with Al on the bottom. Parker eats some puckerhole like a pro, then lies back and takes a fuck on his back. Year: 1985 Studio: Surge Studio Director: Al Parker.
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American Cream: This unusual vintage gay porn feature film is a three-vignette fuck flick that doubles as a social commentary on America and desire. 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) showcases the unquestioned authority and dominance of the white male executive by having his black secretary (Dorothy Deane, credited as Black Barbarella) enter his signature on official papers and appear unfazed by his actions, and by Robert calling his underling (Doug Romain) in for participation in the boss’s flights of fancy. Doug knows the routine and submits willingly; his office is filled with jingoistic salvos to exhort him onward and upward to corporate success. Doug participates by entering his own fantasy world, transmuting his degradation and inferiority to the fulfillment of his own desires. Doug, defined and slender, rims his muscular and 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). Sitting on Robert’s stiff pole, the director overlays images of Doug sitting on the Washington Monument to underscore the pent-up sexual energy, yet overt sexual imagery that tensely co-exists in our culture. It is also a not-to-subtle dig at the worker’s plight in American society: getting fucked. Doug becomes incensed and, in a rage, tears up Robert’s office and throws him down for furious humping on his desk, spanking and plowing Robert’s upturned ass before splashing his cum onto Robert’s face. Unlike standard fuck films, we are denied close-ups, penetration shots, and awful, dubbed moans and groans; we are given the opportunity to view the full action set to military-themed music. Next, Country Lads shows just how deep lust runs in the American psyche when it infects a New England sheriff (Sam Block, listed as Buddy), a woodsman (Robert Rikas), and two back-to-nature hippies (Arch Sampson and Chuck Thomas) as they cavort in the snow and in a barn. There is a stunning segment in which Robert runs naked, except for his black leather boots, in the snow with his hard cock bouncing as the horny trio chase him and hogtie him over a saw horse. The sheriff rams Robert violently as the hippies fuck offering a fantastic shot of side-by-side, hairy men fucking. In the highly erotic and intimate Roles, a tuxedoed and elegant bon vivant (Tom Peterson) picks up Times Square cowboy Doug Romain — who has his white Levis seams torn up and replaced with rawhide laces. Slowly stripping and getting into a shower, Doug soaps his taut body as Tom voyeurs and jacks off. Lying in bed, Doug tongue-bathes his trade, licking his stockinged feet and getting toe-fucked by Tom. They passionately kiss and rub their ever-hard dicks together, their 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 decidedly as they laugh and smile in satisfaction. With a jump-cut back to Times Square, we see a cowboy exit Tom’s Mercedes and discover it’s Tom, who has changed costumes and roles with Doug. The director has created a masterful pictorial comment on role-playing and the juxtaposition of the well-heeled Tom and the rough and studly Doug, and their ultimate interchangeability speaks to our socially mobile society. An artistic and sensual vintage gay porn delight, this film explores almost the entire gamut of sexuality, from costumes to foot fetishes, guns, bondage, leather, boots, and objects. Well-paced and insightful, the sex alone is hot enough for several viewings. Called "one of the best gay sex porno flicks ever" by the Village Voice, this BIJOU VIDEO release was originally shot on 16mm film. American Cream: Year Released: 1972 Studio: Hand in Hand Director: Rob Simple aka playwright Jean-Claude van Itallie
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