Jimmy Hughes, stud muffin extraordinaire, plays a Bond-like secret agent in this campy, entertaining, and wonderfully-executed 1970s gay porn classic from Jaguar and director Warren Stephens (later of Nova Studio). This video is sexy with an outlandish story that is so enjoyable that you will laugh and jerk-off at the same time!
Very few times in gay porn a film like Greek Lightning comes along that offers so much boisterous joy that the sex becomes icing, the cherry in the fruity mixed soda . Now I know that there are people who may show absolutely no interest in a porno film with at least three car chases and a campy villain worthy of a John Waters movie, but for those into the entertainment value of classic erotica, this is great porn from a bygone era.
Greek Lightning was made during a time in American history when pornography was screened in theaters, so it's no shocker that it imitates popular narrative form-in this case, a hybrid of James Bond and Dragnet. This film offers insight into the heights that were reached by filmmakers in the '70s public atmosphere of pornographic consumption. Therefore the film 's important, and not only in its historical context, but also in comparison to today's expectations of what sexually explicit material should be (i.e. wall to wall sex). In truth, these guys are hot and the film's a scream.
This film opens with one of the greatest title sequences in a dirty movie. A fast-paced montage features the star (hunky Jimmy Huges) in various poses: punching, kicking, and shooting. Double exposures of silhouettes in block colors float across the screen like the opening to every James Bond picture. Swinging music seals the deal, the only missing element-the unmistakable bleat of Shirley Bassey. Over images of our hot-stuff hero, as Johnny Acropolis, on the move, a Joe Friday voice-over provides the back-story for the shenanigans soon to unfold.
Johnny has been hired to intercept photographs of a tattooed man before a "secret homosexual underground" can use these photos to fuck a closeted high-powered politician's life. Acropolis hops from his car to meet a scraggly tattoo artist, who himself is covered in ink. They greet and immediately get down to business , a blowjob. The raven-haired tattooist sucks Hughes' pretty cock. Hughes is simultaneously gorgeous and unassuming, a rare feat. He has a terrific body and a set of impeccable pecs. Hughes fucks the tattooist but is interrupted by an emergency call from his boss's secretary. He pulls out, apologizes, and pays the tattooist for the photos.
He then drives to meet his usual contact, a blonde. The contact briefly sucks Acropolis off. They pull into a gas station and the contact is shot down while exiting the restroom. Hughes chases the shooter, but someone else, unseen, s the shooter. As the man lay dying, he utters the words "Queen Bee." Acropolis asks a sexy British man, Rex, played by Jon Steele, to help dispose of the body.
Later, when they go inside, Acropolis discovers that Rex is the man in the photographs with the mysterious tattoos. Acropolis asks Rex to undress, closely examining his thoroughly-tattooed and muscled body, which of course sparks sex. Johnny Acropolis sucks Rex while firmly holding his round, tight, tattoo-covered ass. They sixty-nine and Acropolis oozes his love liquid onto Rex's chest.
The plot becomes really convoluted at this point, virtually impossible to understand. But just as the story gets confusing, it gets wildly entertaining. The campily villainous Queen Bee, with highlighted, high-piled hair and wearing a red sequin turtleneck, discusses his plans with his henchman Mark to dispose of "that Greek ." Queen Bee reminds Mark to do his job well, since he hires fellow gays because they are "so very meticulous and very talented."
This is one of the other great aspects of this film, the silly yet complicated character of Queen Bee, a muumuu-sporting flamer who spends his time trying to socially ruin homosexuals. The Joe Friday voice tells us that the seeds of his evil ways were sown when he was arrested for trying to stage a Roman orgy in public. So now, inexplicably, he's "against gays."
The sloppy, surreal exuberance goes wild from here. This free-for-all feel reaches its zenith when Rex and Johnny are at a bar and Mark approaches. Rex goes to the restroom and is seduced. Johnny goes home with cute, cury-haired Mark and fucks him in a sensual scene. He wakes up and Mark is missing.
The phone rings. Rex tells Johnny he was jumped and Johnny replies with a nonchalant explanation for leaving with Mark. Johnny then goes to the Greek Amphitheater to recover Rex. Rex is shot and Johnny embarks on a frantic cat-and-mouse chase through he theater. Sound crazy?
Well, it is. Johnny is caught and brought to Queen Bee's lair. Johnny gets smacked in the face by hunky Billy's huge erection while Queen Bee extols the sexual virtues of his minions, pulling his dick out from his robe and making Mark to suck on it. As he slams Mark's head back and forth, he rolls out a disturbingly erotic and funny list of the pleasures he receives from oral sex, like"swollen, fevered cock, heated and soothed at the same time!"
Billy and another henchman, Marty, are told to mishandle Johnny Acropolis until he gives the information they want. They tie up Acropolis on a bed and Billy plunges his big rod into ass and bangs away at him, his big, hairy balls slapping against Johnny. The fast, heavy pounding is made all the hotter by the fact that Johnny is bound spread eagle, legs in the air. Billy leaves and Marty enters. Instead of just taking Johnny, he sucks his cock and then takes pity on him, untying him.
They escape, which causes Queen Bee and his boys to go after them. What ensues is an incredible car chase that culminates in a pursuit on top of railroad cars. The description must stop here, even though there are only a few minutes left - some surprises must be left to uncover by the viewer!
Overall, this film is truly one of the greats! Even with its sexual economy, there's more than enough pleasure to be had.
