Release Year: 1973
Studio: Bijou Classics
Cast: David Allen, Ray Todd, Jim Cassidy, Joey Daniels, Richard Lavette, Winston Kramer, Eva Faye, Brad Preston, Richard Lindstrom, Vicki Mills, William Laskey, Felisha Fahr, Ron Erario, Jay Dexter, Kelle, Bob Weaver, Greg Phillips, Tiger, Cock Smith, Kirt Coord
Genres: Bacchanal, Drag Queen, Twink, Oral/Anal Sex, BDSM
Video language: English

Based on the sleazy autobiography of the same name, The Light from the Second Story Window recounts the story of a naive teen buddy (played by Dave Allen, famous for his performance in A Deep Leniency) who goes to Hollywood in search of "fame and fortune" but winds up working as a two-bit hustler. This film delivers pre-condom sex at its the best … including an perfect cumshot right in teen David Allen’s oral cavity!
"When The Light from the Second Story Window premiered theatrically in 1973, critics were fast to heap praise upon the dramatic richness and epic scope of the fabrication. Certainly, it was ambitious, perhaps the most ambitious gay pornography film ever produced up to that time. The years, in spite of that, have not been kind to this cautionary tale of a Hollywood wannabe who becomes a hooker before becoming a star. From the vantage point of the Nineties, what remains is (1) a gender-fucked wages-of-sin soap opera of the sort in which Kay Francis and Norma Shearer used to wallow so extravagantly during the Thirties, and (2), a vanity production for David Allen, who wrote the screenplay (based on his novel), edited, and cast himself in the featuring role, all too often forgetting the category in which he had chosen to tell his tale – there isn’t one frame in the entire video of him at erection.
The first thing one sees as the video opens is the Greyhound Bus Depot in West Hollywood, where a blond naif (Allen) steps off the bus to be met by a black pimp (Winston Kramer) and a white drag queen (Richard Lindstrom). Presently he is at the home of a male madam (Brad Preston), and offered the proposition that if he puts out for clients in private settings and for the camera in fuck flicks, he will eventually be given a role in a mainstream video. There follows a mechanical sex scene in which an unattractive john and a disinterested dude plaything go at it. Like most of such episodes in the film, this one has a beginning (permeating) and an ending (the money shot), but very little middle, and no sense of a whole sensual experience. The scene serves as an eye-opener for Allen, who (after being plied with liquor and some sort of ‘pill’) accedes to bed down with the pimp, as sort of an audition. They kiss. Allen sucks and gets banged (although the anal activity appears to be simulated, and neither has an on-camera ejaculation).
The third and fourth explicit scenes – of Allen with clients – are more successful on a purely prurient layer. The first, a threeway with a father and son poolside, includes Allen sucking, anilingus, and other apparently simulated bang. The one more, starring Cassidy as a closeted video star, clearly shows why he was one of the most popular early stars of the category. The camera loved his chiseled features, gym-built physique, and sturdy erection, and he throws a definitely not-simulated bang to the diminutive golden-haired that culminates with a syrupy money shot all over Allen’s tongue. But Allen’s character is beginning to regret his existence of ‘being constantly used.’
An ‘acting workshop’ for clients turns into a kaleidoscopically filmed bacchanal at which the cop on the take (Richard Lavette) selects Allen as his bonus of the day and subsequently puts him through a humiliatingly homophobic S&M exercise. This degradation prompts the onset of a nervous breakdown in which Allen attempts to ape Orson Welles’ classic temper tantrum in Citizen Kane. This is followed in rapid succession by Allen’s meeting a excellent, middle-aged gentleman (William Laskey) who raises snakes, intones the most polemic dialogue in the video (all about love and longing), and eventually commits suicied; by Allen’s becoming an overnight success as a legit film star; and by by a celebration at a cabaret where a drag queen (Felisha Farr) lip-syncs ‘Why Was I Born’ and Allen meets the love of his life, another wannabe, who is straight (Ray Todd).
The wages-of-sin theme shifts to the hollowness-of-fame theme, as Allen almost has sex with Todd (one more sensation from the early days of adult); hires a hustler of his own (Joey Daniels) who turns out to be more of a philosopher than a sexualist in a non-explicit episode; and in the end gets Todd into his bed for the the most sexy sex scene in the movie and an ambiguous ending in which the straight boy is gradually coming around (‘Give me time… Don’t push me… You can’t have everything.’) And the video ends with a stunning freeze frame of Allen in front of a fiend kleig light at yet another premiere – rich, famous, and alone.
Why, then, after all these years, should one bother to view – or review – this movie? Well, for all its flaws, The Light from the Second Story Window represents an earnest essay to explore and exhibit human sexuality within a dramatic narrative structure, something that was rarely being tried in those days of furtive shoots in motel rooms. Clumsy as it may seem today, LIGHT paved the way for other filmmakers who believed that the explicit movie and the narrative could be melded, and now and another time, this one does rise above cliche."

Format: Windows media
Duration: 1:56:30
Video: 640×480, Windows media Film 9, 1870kbps
Audio: 125kbps

Video clip size: 1.7 GB