All-star cast, Blakemore’s imagination at a peak, and Sign! There were periods when HOM producer Barbara Behr insisted the models keep their panties on to avoid censorship, but this was not one of those periods. Naked crotches abound. You need to have this one in your collection.|
Nina Never Knew
Lonnie Andrews stumbles across some rope and pulleys. She ties a rope around one wrist and likes the idea, as shown by some prolonged diddling. When a guy approaches to find out what the hell is going on, she smiles, and offers the rope and her wrists to him so he can fix her up just right.
And right, he does. Cut to her standing spread-eagle with crotch rope; same with feet suspended off the ground; now the ankles raised to wrist height, putting her pussy front and center; finally, inverted spread-eagle, naked at last, with a gag (at last!)
I guess Nina never knew that she likes to be put into roughie bondage. My kind of girl. There isn’t much here but Lonnie in different bondage positions. They’re such that she can’t squirm or struggle, she isn’t being strongly tormented, and there’s no whipping.
Trouble for Suzie
Suzie, played by Lana Ryan, is in very big trouble from the get-go. No easing into this one; it just goes from bad to worse. There really isn’t a story or a developing idea in this loop. We just see Lana being tied up in one painful position after another. Rope gag, tight crotch strap, legs tied in poses that strain her flexibility. Good grief, how much can Lana take? A lot, it looks like.
This loop shows Laurie Sands, America's oldest sorority pledge, going through the sisterly initiation ceremony of the Rappa Tappa Thigh* sorority at the University of Alabama (Tuscaloosa).** It starts off pretty easy, with her in a standing spread-eagle, cleave gagged, her dress hanging in tatters. Next we find her suspended horizontally by her wrists and ankles, wearing only her panties (the same ones, incidentally, that Lonnie Andrews just wore). Love those perky tits. So far, the sisters have gone easy on her. That’s about to change.
On to an inverted Y, with a tightly-cinched crotch strap. Now here’s a good one: standing up, suspended by a rope tied around her tongue! Hope she doesn't stumble. Add on to that, after a bit, a tiny string tied around each nipple and those tits get pulled taut. Finally she gets tied in a chair with a vibrator jammed up against her pussy. She'll have survived her initiation and become a sorority sister when she orgasms.***
Laurie looks like a 30-something upstanding pillar of society who found herself in the wrong place in the wrong time. This makes her torment all the sweeter.
* I just made that up.
** That one not so much.
Red Hot Captive
Marti Kaye sits in a wicker chair, her hair wrapped in a towel and her body wrapped in another one, painting her toenails. Great cheekbones. In comes an unseen someone who ties her wrists and ankles, the wrists attached to a few turns around her neck. Next, AOH suspension with ankles tied together. What a figure, what motion!
On the floor now, with her arms behind her back and sporting a double-strand crotch rope, she goes down on a spiked dildo. Wow, she’s good. She stops to plead with us, mouthing, “Please, please fuck me!” Happy to!
AOH again, with one ankle tied back to a rope around her waist and the other foot not quite reaching the floor. The panties hang by her high heel. Beautiful.
In the final scene, she's back on the floor, one leg suspended and the other in a frog tie, she’s going after the dildo again. Her hands are almost free enough to jam that thing up her cunt, but she can’t quite get it in. Or can she? We don’t get to see.
One thing that bondage does is place a woman in an alluring pose and hold her there for our enjoyment. Marti has beautiful elongated figure which the bondage in this loop displays so well.
Showtime. Sharon Montgomery, in her only Bondage Classics appearance, takes the headliner spot. She is a little heavier here than in most of her other videos, but I’m not complaining. Her breasts are meatier, and her hips and ass remind us of a prehistoric fertility goddess. Add on a compelling story line and you have a first-rate loop.
The whole shebang starts off with her tied to a chair, wearing a thin white blouse and the skimpiest panties possible. A guy wants her to sign something, Lord knows what, but she WON’T SIGN! No, sir! So he grabs her hair, yanking her head around, and gives her a good dose of breast mashing that we ache to help out with.
Cut to her tied in a vertical spread-eagle, with a vicious crotch rope looped overhead and tied off around her neck. Her blouse is open and tied back so her helpless nipples can have a clothespin bite down on each one. Hurts, doesn’t it? Not as much as what's coming next.
Still won’t sign? OK, off comes the guy’s belt for some angry whipping on her backside. Cut to her tied AOH and facing away from us. The guy makes a cleave gag out of her blouse, stuffs it in her mouth, and ties it off. Ropes around her thighs and ankles leave her immobilized, and you have to admire how the first whipping marked her up. That was an honest-to-goodness thrashing, the same that she gets now, right across her breasts. After her beating she gets her bruised breasts thoroughly mashed, and Sharon still won’t sign.
Back to the chair, then. Out comes the wooden chair dildo. Off go the panties and the guy forces her to sit her shaved pussy down on the dildo so it slides up inside her. When she is securely seated, the guy pulls out a wire breast harness and Sharon knows what’s coming -- first-rate breast bondage. By the time those tits get cinched up, they're all hard and swollen and distorted. Wowie! Makes you want to try it out on your Honey (volume permitting).
Finally, she agrees to sign the darned thing, because only worse can follow. End.
Of all the Bondage Classics episodes, this one stands alone. Its conception, its model, the variety of torment, are unparalleled. These pictures show the highlights; more pleasant surprises await a complete viewing.
The “sign this or else” concept was used twice the Punished series, first in Episode 2-5 with Toni Stern, and again in Episode 7-5 with Karen Arthur. It provides an ingenious rationale for making a poor model’s suffering become progressively greater from scene to scene instead of just different.