You’d have never guessed that gas was being rationed during this time due to oil embargos!
Joining the gas guzzling craze in the world of gay porn was 1976’s, Kansas City Trucking Company, a film that would eventually spawn two sequels (El Paso Wrecking Corp and L.A. Tool and Die).
Kansas City…is first and foremost an actual film with a plot, characters and decent camera work. It tells the story of Hank (the uber-macho, Richard Locke) a trucker, and his new travel companion, Joe (the hippie-ish, Steve Boyd).
The film starts with an expansive view of the American open highway and a rather curious soundtrack featuring a radio announcer touting a book called, Born Again (written by Watergate scandal figure Charles Colson), as the announcer describes this tome, the camera continues showing us views of roads until finally we see the 18 wheeler that is being piloted by Hank. After the radio ad finishes, Hank switches off the radio and says, “Shit”; the film cuts to black, the title comes up and the fun begins…
We now see Hank strolling through a truck parking lot; his shirt unbuttoned revealing an expanse of fur on his chest that looks like Empire Carpet installed it. Then we cut to the interior of the lot’s office where we discover Jack (played by Jack Wrangler, probably the ultimate gay porn star of all time, in my humble opinion), jerking off. As Jack tugs on his member, the camera cuts back and forth between Jack and Hank until finally Hank enters the office and Jack is all zipped up and all business.
Finally Hank and Jack get down to brass tacks as Jack tells him about his new partner, Joe. After Hank ponders the idea of a new kid he says, “Are you telling me to break him in, or turn him out?” Jack replies, “That’s up to you.” --- and with that the camera goes in on a close up of Gage’s Hank (who looks just like Kris Kristofferson) and the next thing you know, he is fantasizing about having his way with Jack – damn, watching these two go at it, is akin to staring into the sun, these guys are so damn hot, it might burn the eyes out of your head. Jack Wrangler and Richard Locke were a couple of sex machines, so If you like your men, sweaty, hairy and pig-like (as in attitude), you are going to love this scene!
Back to reality; we see that Jack and Hank are still discussing the load that is to be trucked to L.A. (gee I wonder what it might be? Platform shoes, puka shell necklaces, crates of 8-track tapes???). And then we cut to Joe being driven to the parking lot by his girlfriend (Marie Reina – who is a dead ringer for Katharine Ross—and again, I asked myself, who was this woman’s agent, that would score her a non-sexual role in a gay porn film), they kiss passionately good bye (to establish that little Joey is straight, no doubt), and then Joe makes his way to the office.
Steven Boyd’s Joe is a tall, lanky thing with head full of jet black hair and the face of a stoned angel. He looks the quintessential mid-70’s dude, sex on a stick with far away eyes.
Quicker than you can say, “10-4, good buddy, you got your ears on”, Hank and Joe are riding off and Hank begins to school the young guy in the rules of the road. That is to say, Hank tells Joe that he is going to be horny most of the time, and if he so desires he should just whip out his Johnson and have it – no problem (well, he does not actually say it that way, but you catch my drift). Joe seems a bit taken back at Hank’s frankness and stares out blankly on the road, as does the viewer…
… we follow an anonymous cowboy in his souped up convertible who picks up an equally anonymous blond-boy hitchhiker (wearing an impossibly short tight pair of jean cut-offs) and the duo make their way to a side road to engage in all kinds of carnal goings-on.
First the blond straddles the hood of the convertible and masturbates to a climax shooting his spunk all over the car’s windshield while the cowboy stays in the car tugging away at his own prick. Then the guys move on with the cowboy riding his hitchhiker like a bucking bronco – this is a scorching, non mechanical sex scene that might leave you breathless.
Back to the truck, we now find Hank driving and fantasizing about Jack back at the office. The fantasy sequence finds Jack Wrangler bathed in soft light while he brings himself to climax… this scene is shot so beautifully and Wrangler, like always, is a pleasure to behold (if you don’t know who Jack Wrangler is, then turn in your gay-card now!). Then we immediately cut to Joe who is reading a girlie magazine. The camera keeps focusing back on Hank who is literally staring a hole into Joe’s crotch. Deciding that it’s now or never, the trucker reaches over and grabs his silent partner’s goods and tells him to whack off.
They pull over to the side of the road and both men whip out their equipment and go at it. Interestingly enough, focus is mostly kept on Hank’s face (and it should be noted that Richard Locke could say more with a longing look than any silent movie star ever dreamed). He seems to convey lust, longing and desire with out saying a word. Eventually we are treated to Hank’s view of Joe, who is pounding his pud like a mad man now (note that Steve Boyd is hung like the proverbially horse – damn!). The scene now switches with primary focus on Joe, and once more the only soundtrack is radio static and the sound of traffic.
Then Hank closes his eyes and imagines Joe and Jack going at it. While this could have been probably one of the hottest scenes in the film, it is sadly too short and nothing more than a tease. But Boyd and Wrangler make a beautiful coupling even if it is briefly.
When this scene is over, we follow more back road shenanigans. This time we come across a couple of guys who pull into an old shack and discover a naked handsome stranger waiting for them (if life were only like this) and within seconds Kansas City Trucking goes from an erotic, atmospheric film to a dirty-rocks-off-skin-flick: that is to say, the threesome engage in some of the raunchiest, raw, animalistic fucking you might have ever seen. This is by far the film’s most exciting moment and its shot beautifully with the orange glow of a setting sun chasing the shadows of the shack and its lusty inhabitants. The three men involved screw each other to numerous messy climaxes and I’ll bet the walls of that shack were dripping with cum when they finished up.
After this we find ourselves in a dark bunkhouse where Joe has gone to sleep off his trip…and now it’s his turn to fantasize.
Turns out that our boy might not be as straight as we were lead to believe as he dreams up an orgy that includes him, Hank and the various other men he spied during the day.
The orgy is shot mostly in shadow with body parts being illuminated only momentarily until they fade … after a bit the viewer is not sure who is doing what to whom, but there is no denying that it is pure sexual overdrive going on from the muffled cries and whispers of the participants. The entire scene is orchestrated almost musically, leading to a crescendo of faces scrunched up in orgasmic bliss, and body fluids spraying through the air like fireworks on the Fourth of July.
The dream ends suddenly for Joe who wakes up when he hears some one call his name. Steven Boyd’s boyishly handsome face fills the screen and he stares straight ahead. Is he scared that he has come to grips with his true feelings? Is he relieved? Does he even care? That’s up to the viewer. And then that beautiful face fades out and the end credits roll to the sound of traffic in the distance.
Kansas City Trucking Company, while not flawless, is one of those rare instances where the filmmaker tried to do something more than just create a skin flick. There is atmosphere galore, as well as a healthy dose of gritty realism. None of the men in this movie look like fashion models. You won’t see any plucked eyebrows or tan lines. What you will see are realistic looking people having realistic looking sex. More than that, you might smell the open road, feel the sun baking your skin, and definitely wonder why they can’t make porno’s this well anymore.
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