Jos? B?naz?raf
Re: Jos? B?naz?raf video to film
They - the J.B. videos and also the direct-to-video shot by other directors and released in theaters at the same time, i.e. : 1983-1986 to put it precisely - were shot directly in vid?o in the theaters that were equipped with BVU & Umatic 3/4 inches projection machines instead of 35mm. So the transfer from 35mm film to vid?o magnetic support was not needed at all...
All that is explained in details by J.B. himself in the book that I mention in my former message.
About chronology, this book give you a good deal of chronological answer too...
(...) The Wife well-natur'd, and the Mistress true. (...)
John DRYDEN (Prologue to "All for love")
John DRYDEN (Prologue to "All for love")
Re: Jos? B?naz?raf
There is a very long interview and article (with lots of pictures in b x w and color, and a filmography at the end) on Jose Benazeraf in the defunct Sex Star System magazine#6 (published in summer 1975).
The whole article runs from page 3 to page 18, and covers his soft-core period as director and producer.
The whole article runs from page 3 to page 18, and covers his soft-core period as director and producer.
"Le Port Aux Putes"
"Le Port Aux Putes" {a|k|a "The Whore's Port"} [1983: France. Prod. & Dir.: Jos? B?naz?raf. Run Time: 4' + 57']
Featuring: Michelle Villers, Laura May, Marianne Aubert, Cathy M?nard, Evelyne Lang
Gabriel Pontello, John Oury, Richard Lemieuvre, Mohanny
This was one of Jos? B?naz?raf's first productions shot on videotape in a special process which allowed it to be shown both in regular cinemas, and on the then-burgeoning videocassette formats, including not just VHS & Beta, but also U-Matic (another Sony format), and Philips' [Holland] ?Video 2000? format .
Three French streetwalkers [J. B?naz?raf can call them whores, but I will not.], finding the harbor docks too chilly for their scanty outfits, recess to a bagatelle arcade. One of them (Michelle Villers?) manages to attract the attention of a male there (John Oury), and the two head off to the French equivalent of a Japanese ?love hotel?. The other two streetwalkers (Laura May & Marianne Aubert) catch the eye of Gabriel Pontello by playing foosball. He departs a pinball machine [bonus points for you if you detect the manufacturer & model] to instruct them on playing tips. Marianne is plucked from the scene by a male (Richard Lemieuvre?) who just won some money playing horseshoes [J. B?naz?raf shot the match in the background as G. Pontello chatted with the two females in the foreground.]. Off they go to the same hotel; and amusingly enough, the only room available for them is the same room which was being used by J. Oury and Michelle. They have finished and are dressing, but it is still a consternation when the hotel clerk opens the door for R. Lemieuvre and Marianne. {Clean sheets? What clean sheets?}
The three females reconnoiter at the bagatelle arcade. G. Pontello reappears and picks up all of them by dangling the keys to his Buick Le Sabre. He motors them to a mansion. He is staging a sex party there that evening, and the three of them shall be the focal points. His resident clothes designer, a gay male (Mohanny?), is confronted with the need to costume them. He sweats and frets; but we get to glimpse all three of our females undressed.
We jump to the evening. Two other females mysteriously appear. There are conjunctions, but each of our females has penetrative sex with only one male each. My trained eyes detected only one climax [by G. Pontello]; looped and reshown from a different angle. Of course, this is a French porno, so the quandary I'll pose to you is, ?Does the gay guy get any pussy? Or anything else?? !shocked!
Featuring: Michelle Villers, Laura May, Marianne Aubert, Cathy M?nard, Evelyne Lang
Gabriel Pontello, John Oury, Richard Lemieuvre, Mohanny
This was one of Jos? B?naz?raf's first productions shot on videotape in a special process which allowed it to be shown both in regular cinemas, and on the then-burgeoning videocassette formats, including not just VHS & Beta, but also U-Matic (another Sony format), and Philips' [Holland] ?Video 2000? format .
Three French streetwalkers [J. B?naz?raf can call them whores, but I will not.], finding the harbor docks too chilly for their scanty outfits, recess to a bagatelle arcade. One of them (Michelle Villers?) manages to attract the attention of a male there (John Oury), and the two head off to the French equivalent of a Japanese ?love hotel?. The other two streetwalkers (Laura May & Marianne Aubert) catch the eye of Gabriel Pontello by playing foosball. He departs a pinball machine [bonus points for you if you detect the manufacturer & model] to instruct them on playing tips. Marianne is plucked from the scene by a male (Richard Lemieuvre?) who just won some money playing horseshoes [J. B?naz?raf shot the match in the background as G. Pontello chatted with the two females in the foreground.]. Off they go to the same hotel; and amusingly enough, the only room available for them is the same room which was being used by J. Oury and Michelle. They have finished and are dressing, but it is still a consternation when the hotel clerk opens the door for R. Lemieuvre and Marianne. {Clean sheets? What clean sheets?}
The three females reconnoiter at the bagatelle arcade. G. Pontello reappears and picks up all of them by dangling the keys to his Buick Le Sabre. He motors them to a mansion. He is staging a sex party there that evening, and the three of them shall be the focal points. His resident clothes designer, a gay male (Mohanny?), is confronted with the need to costume them. He sweats and frets; but we get to glimpse all three of our females undressed.
We jump to the evening. Two other females mysteriously appear. There are conjunctions, but each of our females has penetrative sex with only one male each. My trained eyes detected only one climax [by G. Pontello]; looped and reshown from a different angle. Of course, this is a French porno, so the quandary I'll pose to you is, ?Does the gay guy get any pussy? Or anything else?? !shocked!
“Pornography is beautiful.” - Lassé Braun