Posted at 23:45 on 9 Dec 2009 by Pandora / Blake
I've spent most of the last week plotting historical scenes for my shoot with Zille de Feu and her Master on Monday. I am ridiculously excited - about meeting them, working with them, and about the scenes we have planned. It helps that Zille and I appear to have almost exactly the same taste in edgy, unfair Victoriana. I will admit to also being kind of nervous about shooting with two such experienced porn producers and photographers - this is still only the second shoot for my new site (it's been a crazily busy year), and it'll be the first time I've hired other models to film my own material. But so far, the excitement is winning.
Given I've spent the last few days gleefully immersed in period scenarios, it's perhaps not surprising that NSI's latest Victorian offering caught my eye:
The scene is called A Very Victorian Birching, and it's a feast for the eyes. The natural light is absolutely gorgeous, and Zoe Montana looks beautiful. She maintains her poise throughout a long punishment, despite her tight corset and uncomfortable-looking position bound between two trees.
Michael Stamp, looking terribly debonair in a velvet smoking jacket and exuding quiet authority, applies a sequence of horrible-looking implements to her bloomered derrière. The selection includes a bundle of switches, a carpet beater, and twenty strokes of a stiff thick cane.
Based on Zoe's fantasies of being punished as a Victorian maid by a firm but fair master, this scene is incredibly visually appealing. Zoe is very submissive, struggling to be brave as she takes her strokes, despite her guilt and shame at disappointing her master. It's a quiet scene, not much dialogue - the only sounds the cracks and whimpers of the whipping, distant birdsong, and Michael's calm admonishments. But the tension is palpable.
This film was made for me by Zoe's reaction to the ninth cane stroke. The caning comes at the end of a relatively severe punishment, during which she starts to struggle to control her responses. But this one moment took my breath away. The strokes lands - and the camera stays focussed on Zoe's face, watching the emotions flicker across it like clouds. A whimper, a fluttering purse of the lips, a sharp intake of breath ... then she swallows, closes her eyes, and visibly absorbs the sensation. Her shoulders settle and her gaze calms.
When she finally speaks - "Nine, master" - her voice is soft, almost wondering. Unbidden, she adds, "thankyou ... thankyou, master". She hadn't been instructed to count these strokes - her gratitude is genuine. It's an exceptionally real moment.
Watching films that include these genuine submissive reactions makes me want to play more than almost anything else. I crave that place of sudden calm, when your body learns to accept the pain and it becomes transmuted into something else entirely. At that moment the scene changes from being about the pain consuming you, to you consuming the pain. Watching it happen to someone else reminds me why I'm into this in the first place.