The new Glimpse by Roy Stuart – already the eighteenth! – is a great achievement that should delight the fans that we all are. The master of explicit erotic spectacle has again struck strong. Adept in the third way between eroticism and pornography, he gives us a masterpiece far from the insipidinous of traditional eroticism and the vulgarity of routine pornography.
Gimpse 18 is out on DVD and Bluray!
Stuart is the spiritual son of great Joe Sarno, the pioneering celebrator of female pleasure. A unique pioneer of the genre,
he places the enjoyment of woman at the heart of his art. Like the author of «The Layout”, he has a predilection for the dildo because it allows his patients to modulate their ascent to orgasm better than with a phallus: an instrument for the emancipation of feminine sexuality. Always in the style of Sarno, he shows women of all kinds, taken in their intimacy close to their delicious bodies without yielding to stereotypes or fashion – for “everything is good at home” as in the song by Georges Brassens. The camera explores them as the hand caresses, the excitement is palpable in all the participants inciting the viewer to partake of the pleasure presented. Nothing is fixed, nothing is foreseeable.
This pretty woman who dances as if she were alone in front of her mirror may masturbate in an instant, or perhaps she will make love, we cannot know, and that’s what makes the scene so lively so stimulating. Especially since the author does not forbid himself any freedom, does not flow in any mold. His camera will not stop below the belt, nor will he freeze in an anesthetic close-up. The spectator never remains hungry, nor runs the risk of indigestion. The sensation of déjà vu disappears. Neither banally erotic, nor fastidiously pornographic, scenes succeed each other, rich and varied, raw and poetic, lively and intense, bathed in a throbbing music also written and composed by Roy. Some remain in our memory. A young woman tries clothes. The camera twirls around her, imitating what looks like a dance, that becomes a dance. The banal scene taken from everyday life is transformed into a hymn to the grace and beauty of the female body. A very beautiful young woman beautifully framed lying on a sofa covered in ochre fabric, by the painting behind her. All her gestures bring us back to her offered sex: the center of the world.
A pretty dancer urinates in front of the toilet door that did not open. A little later one finds her inside, with a man, urinating in orgasm. The scene, impossible to simulate, reinforces the authenticity of this scene that makes it even more intimate. Roy makes fun of good taste and the “sexually correct” championed by a consumer society that has lost the sense of trivial: a salutary return to the roots. When one loves woman and wishes to honor her, one loves her entirely, and in all her functions, justly called natural. We put ourselves at
her service. Vice serves the viscera! The bodies are exulted at length, wisely and viciously. An iconographic scene, one of the summits of all the Glimpses, is where male hands massage
a very young woman whose excitement we can feel following the “progressive shifts of desire” dear to Alain Robbe-Grillet. Here again, the burning bush is the center of attention; Everything revolves around her and the hands that mold her evoke the finest hours of American cinema of “sexploitation”, notably the films of Nick Phillips. The body must exult! The message is in the massage.
And a coitus will soon follow, as a provisional conclusion. We will also not forget the advocacy for hair, illustrated with convincing images and a song celebrating natural pussies and armpits: is not it said of a naked woman that she is «à poil»? The heroes of Roy have pubic hair, they are made of “flesh and blood”: as Verhoeven’s film embodied a true middle age, without concession to “good taste” or self-censorship, his work shows real women , Who truly enjoy and live before our eyes moments of intense pleasure to which by miracle, by chance, we are invited. No simulation for the actresses: the stimulation for the spectators. Once upon a time there was a sensual revolution, an alternative movement to classical porn coming from the USA. What Roy tells us, who inscribes the Glimpses in this movement, is that the essential part of life is derived from the inexhaustible source of pleasures, the antipodes of a disappointing external world. The closed session is our safeguard. With this eighteenth Glimpse, we are the privileged spectators. The screen that is sometimes obscured between scenes reminds us: sex is our ally against nothingness. Woman is the past, the present and the future of man.
Such is the art of Roy Stuart: the height of eroticism. And this art fills us.