I lived in Cannaregio for a little over a year, and would often snake my way home under the pall of night for what felt like hours contemplating how, in the guise of darkness, Venice appears to be at its most real. Like one vast scenographic envelope, Venice is a city of superficial image and hidden depths-of showing only your best side, often requiring the disguise of a powdered face, a carnival mask, or a gold-studded mosaic to support a crumbling palazzo. (The mid-sixteenth-century Catalogo de tutte le principal et più honorate cortigiane di Venetia was a best-seller in its day.) From Casanova to Caravaggio, the islands have been hotbeds for venereal disease-syphilis, most famously-and the finest courtesans in the known world. Death in Venice explores beauty and disreputable desire against the backdrop of a place that has, on more than one occasion, yielded to its louche reputation. Entrance, Spazio Punch ( Louis de Belle)Īcross its long history as a point of convergence between Europe, North Africa, and Asia, Venice has been known as the city of the seamy assignation. A cholera epidemic-which no one will openly speak of or accept-has gripped the city. Distracted, and having lost Tadzio to the indistinguishable ebb and flow of the city, von Aschenbach interrogates a nearby street merchant: “What is this filthy smell?” Ignored by the merchant, who is himself in apparent denial, his fears are soon confirmed by an empathetic bank clerk. This moment of connection, charged by something that neither can articulate, is broken by the passage of a Venetian official pouring a white watery fluid over the street. Torn between shame and incorrigible curiosity, he tails the boy until they eventually catch each other’s eye. He slinks behind a column as Tadzio descends a bridge, so as not to be seen. Spotting Tadzio in the piazza, von Aschenbach is compelled to follow him. But Tadzio-a beguiling, effeminate adolescent and the uneasy object of his uneasy obsession-stirs in him something hitherto suppressed. An accomplished composer-in Thomas Mann’s Der Tod in Venedig of 1912, he’s an author-he has a wife and, one assumes, a family. The night before, von Aschenbach had clumsily refused the advances of a bemused prostitute in a plump boudoir at the Grand Hôtel des Bains, his hotel on the Lido. MANHANDLED is seven ass-gaping scenes featuring hardcore, aggressive fucking, toy play, fisting, piss & breeding that is sure to please every side of you.There’s a sequence of scenes in Luchino Visconti’s 1971 adaptation of Death in Venice in which Dirk Bogarde’s Gustav von Aschenbach, who has traveled to Venice for palliative reasons, shadows a fourteen-year-old boy and his family as they weave through the campo and calle around the Piazza San Marco.
Bottom extraordinaire LEVY FOXX makes his Treasure Island debut getting double-fucked by JOEL SOMEONE AND JAKE MORGAN. JOSEPH OX gets all geared up and gets piggy with JULIAN TORRES.
DOLF DEITRICH shows us his dominant daddy side making LIAM ARCHER beg for big toys, big dick and more. MANHANDLED features the always willing and always ready DREW DIXON taking big dick from new comer THE NUDE BOTANIST, DADDY CREAM and ALEX TIKAS who also gives him an ass-pleasing fist session. Sound right? If so, then you are going to love I. And sometimes, you feel like a dirty slut who wants to get fucking MANHANDLED by a hung, aggressive, selfish top who uses your ass as a fuck-hole, loads you up and then kick you to the curb.