Jackaroos

Kristen Bjorn, a former Falcon model in some of their early loops included on Video Pacs such as BIKER'S LIBERTY, really came into his own as a filmmaker with the runaway hit CARNAVAL IN RIO in 1989. Those early stages of his directorial career will forever be referred to by fans and critics alike as his Brazilian period (further including amongst others CARIBBEAN BEAT and ISLAND FEVER). Regardless of one's personal taste in men, the consensus appears to be that these films contain by far the most aesthetically pleasing casts of his entire oeuvre. In the late '90s, Bjorn trotted out to the Czech Republic and Hungary, along with seemingly every other pornographer, for a hugely successful series of films including THE VAMPIRE OF BUDAPEST and THICK AS THIEVES that is generally considered equal due to his evolved assurance as a director making up for only marginally less attractive men. The stretch in between, which I shall dub his Australian period (though he briefly popped over to Canada as well), too frequently gets casually dismissed. This is most unfair. True, the casts of A SAILOR IN SYDNEY or MANLY BEACH (or MONTREAL MEN, for that matter) are more rough 'n' ready than those of his earlier and later work but I've always felt that their "real people" attractiveness - as the popular expression goes - combined rather well with the spectacular and equally unpolished scenery on display. There was certainly no doubting their sexual prowess as the men, without exception (where does Bjorn keep finding all those demi-gods ?), tear into one another with a skill and desire that puts the "professionalism" of most US performers to shame.

Even in the rarely plot-heavy annals (no, this is not a typo !) of gay porn, JACKAROOS is remarkably devoid of storyline, resulting in one of Bjorn's most ambient and, dare I say, abstract features. What on first viewing might appear as adherence to formula (i.e. four long sex scenes, all of them set outdoors) gradually reveals itself as some sort of pornographic poetry, mixing natural with physical beauty. It could even have done without the sporadic narration leading into the sex, spoken by some guy with a heavy Aussie accent waxing lyrically about how men can only rely on their buddies in the outback, perhaps a sign that Bjorn was still lacking a bit of confidence in his own film-making abilities at this stage. The sex itself is pure perfection though, shot, scored and edited in Bjorn's patented style which makes his performers appear almost superhuman in their lovemaking abilities. As usual, most of these men have never appeared in anyone else's movies, with the exception of Sean Davis (billed here as "Foot Long Sean" !) who - in a bizarre coincidence considering the director's roots - went on to become a popular Falcon model in their best-selling BASIC PLUMBING. Bjorn had fun coming up with all sorts of odd Aussie noms de porn (Blue Veiner, Dingo McGee, Brumby Jack) which he wanted to represent outback stereotypes à la CROCODILE DUNDEE.

Exquisitely shot at a natural park, JACKAROOS remains unmatched - even by Bjorn's lofty standards - for sheer visual splendor. Sex occurs in groups of 2, 3 or 4 and tends to feel as natural and unforced as the surroundings. Singling out a highlight is always going to be a matter of personal taste. My favorite is the second scene down at the farm with beautiful blonde Josh Sherwood (a former fashion model) gets thoroughly worked over by ranch hands Davis and Arturo Ramirez, a retainer of the Brazilian days. But, truth be told, the heat never lets up for a single instant, much of that presumably due to the director working his magic in the editing bay. His worldwide legion of fans proves that he has few equals in the field of gay erotica and this particular movie has been unjustly overlooked for far too long. So do yourself a favor and check it out, or watch it again if it has been a while. Odds are you'll be most pleasantly surprised, aroused and indeed satisfied.