Hardcore s&m porn, like the grainy German ones a friend of mine collects, features the kind of “raunchy action” that Mark Simpson has called “surgery without anaesthetic”. Fisting up to the elbow, mega-enemas, and house-of-horrors paraphernalia such as full-face latex masks with zips and locks, rubber catsuits with hoods and every kind of ball-torturing, arse stretching clamps, rings or baseball bat size dildoes are par for the course. They’re kind of hot and exciting if you’re into that sort of thing but for everyone else it’s a little like taking a ride on a ghost train.
The Abduction, a big-budget American porn movie marketed by Falcon as “the most controversial video ever!”contains a number of very sexy scenes that feature medium-strength arse torture and the suggestion of fisting, enemas and whipping, it’s really standard West Hollywood porn dressed up as a quasi-Nazi after-school detention fantasy.
S&m practitioners would probably be bemused if not bored by The Abduction, but others, like me, who kind of like the idea of just a tiny little bit of kink that lasts for a very short time, may enjoy it. The film’s fascist aesthetic - replete with unfriendly Dobermans on leashes and staccato orders barked in hilariously fake European accents - allows vanilla viewers just the right amount of dark fantasy. As “FriskyBoy” at friskyfans.org noted in his review of the film, “with it’s glossy look and feel, along with a cast of popular stars, this was the first S&M video for those not generally interested in S&M.”
The opening titles, accompanied by ominous Moog synthesiser music, play over a cosy kitchen table, set with a lovely tablecloth and bowls of muesli. Just as Craig Slater is about to start his breakfast, uniformed thugs burst into the room and abduct him! He’s taken to a rainy hideaway governed by Chance Caldwell and an SS-style team of guards and torturers who wear only the pants of their uniforms. Apparently Slater possesses a stolen roll of film and Caldwell wants it back. Slater denies possession of the film and acts completely stunned and confused about his abduction.
Scott Hogan, who looks very similar to Slater, is already imprisoned on the same charges, and when we first see him he’s naked and chained over a bench, having his arse searched for “the film”. Performing the search is Dolph Knight, a very stacked Aryran guy who wields a paddle, a couple of strings of love balls, and a very sharp blow-dry. Knight starts the scene in character with an hilarious accent that’s somewhere between Colonel Klink and Marlene Dietrich, but after a couple of lines he reverts to his normal American speaking voice, where he sounds more like a Santa Monica Boulevard sunbed attendant.
Here’s where we first see The Abduction’s suggestion of s&m: the few times we see Knight belt Hogan’s arse with the rubber paddle, he doesn’t hit him very hard at all. We then see wall-shadows of Knight really bringing the paddle down hard onto something, and Hogan screaming in pain, but at no stage do we see paddle hit Hogan’s arse with any forceful impact. A subsequent scene uses the same type of clunky montage, when Slater, similarly hog-tied, is being tortured with dripping candle wax. We see a guard pouring the hot wax from burning candles, but the whimpering Slater is totally out of the shot. We then cut to Slater, who has some kind of waxy-looking liquid on his back. This sequence is repeated several times, and again, we never see a wider shot where we could observe actual hot wax making connection with Slater’s prostrate body. Nevertheless, the arse fingering, dildo play and general argy bargy of the scene is high-qual, and thankfully for the storyline, a roll of film is fished from Slater’s arse - the little liar!
The movie continues with a number of satisfying scenes, none of which do anything really new. A boiler room scene between two handsome guards does everything a porn scene should do, but if you’re going to set a scene in a working boiler room, then throw in some dripping sweat, grease and the odd churning piston-engine. Such elements are absent in this scene as is any kind of observable heat between the actors, who professionally go through the motions and look great but don’t move too far beyond the mechanical (maybe this is some abstract nod to the boiler room setting after all?)
When Hogan and Slater find comfort with each other, they fuck each other with a double-ended dildo which to me made them look like a pair of conjoined twins not sure whether to separate themselves or stay together. They semi-fist each other by inserting all fingers just past the knuckles. It’s not really fisting as much as it’s heavy fingering, so in a way, the marketing for The Adbuction - which promises “fisting” and “double penetration” and charges a premium for such sights in the special edition director’s cut - is a little misleading.
In a cracker final scene, senior guard Jack Dillon, built like an Australian rugby player, stages a one-man coup against Caldwell’s hubristic commandant which features my all-time favorite line of porn dialogue when Dillon puts a horse-whip near Caldwell’s mouth and says “Lick it! Lick it with your tongue!” I’ve watched the scene innumerable times and never figured out what else you can lick something with, other than your tongue, but I guess in a fascist military environment verbal directives are always extremely specific.
Director: Steven Scarborough
Stars: Jack Dillon, Chance Caldwell, Dolph Knight, Craig Slater, Scott Hogan, Matt Gunther