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Following this tour, Beri invited me to join him in the kitchen for a glass of wine as he prepared a simple cheese and mushroom omelet to serve with a salad of fresh greens and warmed bread.
While we talked over our food Beri asked me whether I liked his building and his apartment. Of course I told him that I did. He then explained very casually that he owned the building. I expressed amazement at that. He said he thought I might have wondered how he managed to live as he did without any visible means of employment, how he could afford it, and he wanted to explain. He said he lived entirely on an inheritance from his wealthy grandmother. She was a native of Venice who when very young had married a very wealthy Greek who owned a major shipping company.The Greek husband died and the grandmother also outlived their only child, a son. The grandmother visited Beri's family in New York several times and she had invited him to visit her in Venice. They became very close very quickly and each year his grandmother would buy Beri a ticket to Venice for an extended stay with her in her mansion on the Grand Canal. She introduced Beri to many of her friends in Venice and eventually he became well acquainted with some of them who in turn over the years had introduced him to the private and sexual underlife of the wealthy old families in the city. He did not comment on what this involved.
Beri explained that when the grandmother died she left him half of her fortune which was more than sufficient to permit him to live as he wanted without need for any other support. He remained in Chicago though he said he travelled often to New York and to Venice, Amsterdam and Japan in particular. He also noted that for several years a decade or so ago, he taught courses in the history photography and the history of film as an adjunct professor at Columbia College Chicago. He said he very much enjoyed getting to know many of the students and that he still retained relationships with some of them.
Chapter three: Lucy and Beri watch a very special film
After this dinner conversation we shared a brandy in a room with splendid window views in two directions. Beri pointed out some of the other architecturally significant in the neighborhood. I had walked by most of them and taken Chicago Architectural Foundation tours of several. Then, as I was preparing to leave, Beri casually invited me to return a week later to watch a foreign film with him in his library. Before I could respond he said that before I accepted his invitation he felt he should tell me about the film he wanted me to watch with him. This was a Japanese film from the 1970s that featured very explicit sex scenes. It was produced with the cooperation of a major studio in Japan but was never intended to be shown to the public or submitted to censors. The film was created only for an elite audience interested in seeing real and graphic sex within a serious script and with high production values. The film was accessible only to a small circle of very influential and very wealthy people in Japan who had supported production of the film or who paid very high fees later for the right to view it.
Beri did not say how he gained access to a digital version or whether he was among those who paid a very high feee to do so. He pointed out that the several major actors in the film had agreed to participate either because they were very highly compensated for the sexual scenes or/and because it was known that they found it exciting to perform sexually for an elite audience.
Beri told me that he did not want to take it for granted that I would be receptive to watching with him and that he did not want to offend me. But he wanted me to know that he hoped I would be intrigued and would not be offended by an offer to join him in what would be frankly a sexual experience as well as an artistic one. Without very much thought, I told him that of course I wanted to watch, that I liked feeling I was regarded as open to new experiences. I said probably I would enjoy the erotic content, that certainly I was curious about the film, that I would like to return the next Saturday evening. And so I did.
As he prepared to start the film that next Saturday evening, Beri very briefly set the scene for me. The film is set during the American occupation of Japan shortly after the War. It explores the life of a badly wounded Japanese veteran returned from the war and faced with life in a defeated nation, a struggling economy, a culture in turmoil, and his own physical and psychological wounds. The story, Beri suggested, is akin to D.H. Lawrence's novel, Lady Chatterly's Lover, but in Japan, not England, and after the second world war, not the first.
Beri started the film, projected to fill almost an entire wall of the small room. The figures were nearly life size as we observed them. It felt like we were just across the room from them.
The veteran returns home in a wheelchair to rejoin his demure but beautiful young wife who has waited faithfully for him. His formerly prosperous and highly respected family has been diminished in every sense by the war. His parents have died, the mother from an illness and the father from suicide after the Japanese surrender. With diminished resources the younger couple will no longer be able to support their pre war lifestyle. After exploring issues that would have been faced by many veterans and their families after the War and during the American occupation, the film turns mainly to the relationship of the veteran and his lovely young wife. It becomes evident in an early scene between the couple that he can no longer function sexually for her and is likely to spend the rest of his life in a wheel chair.
The husband soon recognizes the sadness of his disappointed and frustrated wife and he feels great compassion for her. After they talk frankly about his condition he gives her permission to seek sexual satisfaction with another lover. In fact the husband soon becomes impatient that she does not actively pursue a new sexual partner. There is a hint that he hopes he might find vicarious pleasure in watching his wife accept another man.
The first candidate is an American officer assigned to a survey of post war resources in the area. He is a big and blond and handsome man, perhaps a temporary first companion for the wife in the mind of the husband. The American soon recognizes the situation of the young wife and her disabled husband and he comes to her one night in their house. At first she rejects him mainly because he is an American occupier. But when he returns to the young wife, who he realizes is hungry for sexual relief, she tries to be open to him but finds him insensitive, demanding, rough. He immediately expects that the wife to give him oral sex. The film shows her sucking him, her small mouth moving around his large cock, though without enthusiasm. Speaking no Japanese, he cannot understand her pleas for him to be slow and gentle. He quickly enters her with force with not even a pause to adjust to her needs. She can barely tolerate him and when he comes to her again she vigorously refuses his advances. He retreats, not to return. Will, these scenes were very graphic and there was no pleasure for me in watching them. I hoped that Beri did not find this segment appealing.
After his wife's first painful experience the husband next ask shis handsome and wealthy best friend to become her sexual partner. The film shows the three of them meeting together, the husband stating frankly what he hoped to offer to his friend. While the wife recognizes that she is desirable to the friend, and she finds him very appealing, she refuses this arrangement, telling both of the men that she does so because word would spread in the community of her husband's humiliation and of her willingness to accept gratification from his friend — and that would destroy their ability to remain in the village.
The lonely and yearning wife begins to take long walks through the woods and fields outside their village. Several times on her walks she stops to sit on a bench in front of one of the small cluster of now abandoned workshop and storage buildings once used by several artisans supported by the village: a woodworker, a weaver, a potter, a blacksmith. The camera follows her into one of the workshops where she sits down against a wall one day. With her eyes closed she slowly raises her skirt and begins to stroke her sex, tears of loneliness, anguish and shame on her face. The camera moves from her sex to her face, back and forth until she orgasms. The impression given is that she has repeated this behavior several times on her daily walks.
One day while she is touching herself in that room the sounds of her rising pleasure reach an older master craftsman, a skilled wood worker and furniture maker. He is one of the craftsmen formerly supported by the village. The others have been lost in the war or gone to more prosperous communities. As the woodworker peers into the room he is entranced by the young wife's vigorous masturbation and moved deeply by her sad desperation. He watches her touch herself, her eyes closed and her expression suggesting deep sexual need mixed with embarrassment.
When she has quieted after her orgasm, though with her eyes still closed, the craftsman silently enters the room and sits in a corner away from her. When first she notices him she covers herself and cowers as though afraid of what he might do. He speaks softly to her assuring her that she need not fear him. He explains softly that he knows who she is and that he suspects why she has chosen this form of relief and in this place. He tells her that his wife was killed during the war by the American bombs and that he shares the young woman's loneliness and need for comfort, that he would help her in any way that he can.
Although he is considerably older than the young wife, she is touched by his sympathy. As they talk about their separate lives, she finds that despite his age and their different social status, he is attractive and interesting to her. She is surprised, but not repelled, to hear him say that perhaps they might meet other times in this space to talk and to comfort one another. She is curious but uncertain what he means, doubtful that he could mean a sexual relationship. He suggests that they meet on one of the days that he comes there to carve objects to sell in the village, usually two times a week. No one else ever comes there since the war, he says, and this confirms her impression that this is a place for privacy. He says that no one would suspect that they are meeting there.
To make his desires clearer to her, he again asks her not to be afraid of him and repeats that his intentions are to serve her in her time of need. Then, while the camera shows her looking at him across the small room, he unties his loose work pants to reveal his cock, already quite hard. At first pretending to look away, her eyes return to him and she observes that he is considerably larger than her husband ever was, even before his injury. The craftsman says to her. "Please look at me. We are both lonely and in need of companionship and support. And our bodies need the relief that only another person can fully provide."
He stands and walks over to her and sits beside her, his sex bouncing as he walks, hard and prominent. He looks into her eyes and sees that she is absorbed in the sight of him. He reaches over to raise her skirts and gently begins to stroke her sex. "We may please each other this first time with our hands, but then go away and think of other things we may do for one another."
As she becomes highly aroused by his touches on and then in her pussy, he takes her hand and places it on his cock and she begins to return his strokes. He stops her several times when he is about to ejaculate saying to her that he is a very patient man and will always wait for her to come first. So after she experiences a first deep orgasm from his touches, she then finishes him, trying but failing to catch his cream in her hands, surprised at the strength and amount of his cum. After, they remain with their arms around one another for a time. As they part the subtitles indicate that she asks, "When may we meet again?" She realizes she does not know his name.
At that point in the film I recall that Beri paused it and asked me if I have enjoyed watching those scenes with him. "Beri, this is so arousing I can hardly stand it. The sex is more real and beautiful than anything I have ever seen on film. I am almost shaking from their sad but sweet pleasure together in this scene."
"Then we will watch some more."
When the wife and the craftsman meet again a week later they approach each other shyly but then put their arms around each other standing. They begin to kiss, timidly at first, then with rising passion, feeling the heat rise between them. In a swoon of surprise and pleasure they sit together. He says first, "Let us show our need and our readiness. Look at me." He takes out his cock and begins to stroke it slowly. She watches it harden.
"Now you," he says. She opens her wrap and places her hand between her legs and begins. Almost immediately he can hear her soft sighs and tiny mews of pleasure. So for they look at one another while they masturbate — and he goes much more slowly than she does."
While I was watching, Will, it was all I could do to keep from touching myself and from reaching over to touch Beri.
"See how hard you have made me," the older man says. "I will wait for you as you satisfy yourself. Give yourself to the moment now and then we will be joined more fully." The young wife looked into his eyes as she played with herself and she could see that her own pleasure excited him greatly. The subtitles indicated that when he knew that she had come he said, "Our kisses were hot and sweet and so was the touching. And now we can do more for each other with our mouths. Let us lie down together."
And then they eagerly give each other oral sex, his mouth and tongue active for her while her lips were kept tight about him, happy in their mutual satisfaction. After she had come again and taken his cum in her mouth, they paused for a long while simply sitting together quietly. Then she placed her hand on his sex, wanting to test his ability to harden again so to give her the deeper joining she had hungered for since they first met. When she found that his cock was rising in her hand, she asked shyly in her small voice. "My new friend, how would you wish to enjoy me now? I am open to you. I have hoped since we met that you would take me and please me as no man has done for such a long time. I will give myself to you however you want to take me. I will welcome you. I need you."
The camera followed them through a long course of their giving and taking. The man remained in control of himself even while so obviously feeling her desperate hunger. He took her in every common position. They both seemed especially to delight when he took her from behind.
As we watched them fuck so beautifully, Beri asked again if I found these scenes exciting. And he said, "Lucy, can you identify with the wife in her need and in how sweetly the man is helping her to meet that need?
I said to Beri, "I can feel the strength of her pent up desire, and the satisfaction of having him inside her for the first time. And I know that from now on she will need more of him and won't be able to stop."
In all these scenes in the small workshop the two actors seem deeply engaged during their conversations and while having sex. Beri said he has learned that the Japanese audience for the film had been highly pleased, enough to support the production of similar films. He said he hope to secure others in the future.
Will, there were several other scenes from that movie I recall vividly. I wish we could watch that together sometime.
As time passed, the new lovers became more and more adventuresome and gradually the young wife began to take the lead. From slow kisses to more and more teasing. When they kissed she began to initiate tongue play. At times she would use her tongue more provocatively while he watched. She would lean back away from him with her legs folded beneath her so that she could open herself to him. She liked to stroke herself and insert her fingers and make sounds of passion for him and to say vulgar thing to him as he watched. And always she would tell him when she could not wait. "You should take me now. I can wait no longer."
Interspersed into these long and graphic and imaginative sex scenes are others of the married couple going about their lives. Visits from friends. Ceremonies. Dinners.
And then In one scene between the lovers when the young wife asks the craftsman to come into her, he tells her he has made a special gift for her. In an earlier scene we have seen the woodworker carving a lifelike dildo for the young wife, a beautiful dark wood, very smooth and polished with a nice helmet and veins for the cock. It appears similar in length to his own cock but nearly twice as thick. He gives the dildo to her now explaining that he hopes she will like it. May he try it now to test if it fits in her comfortably. She lies on her back and spreads her legs for him. He moves the dildo slowly in and out of her until he knows she is enjoying it. The woodworker asks her to use it herself while he plays with his cock. He tells her it is very very sexy to watch her. She begins to move it faster and tells him she likes feeings it filling her. She reaches her first orgasm with her new gift.
Afterwards, he says to her "Perhaps this gift will give you pleasure when we are apart. And, maybe you will show it to your husband. Tell him that he can watch, and even ask him to use it to give you pleasure. Perhaps that will help both of you." She thanks her generous lover.
While I was watching, Will, it was all I could do to keep from asking Beri if he had a sex toy I could use as I watched.
Then there is a following scene of her using the dildo in her own bedroom. The film shows her moaning and whispering to herself, first that it is her husband who is pleasuring her and another time that it is the man who carved the gift for her. The husband listens through the thin paper wall of her bedroom. Finally, suspecting that he has heard, she shows the dildo to her husband and tells him that it provides her some relief, that she pretends it is him when she uses it. She asks if he would like to watch.
And again the scene is very provocative. The camera moves from her face, to her hand on the dildo as she rubs and then inserts it, and then to his face animated with lust. And the same camera sequence is repeated several times. And she says out loud to her husband and we can read the subtitles, "You are so hard for me. I did not remember that you were so thick and that you could stay hard in me so long. I want to have you come to my bedroom to fuck me every night." In the next scene, another time, she is laying on a sleeping pad, and her husband is lying next to her using the dildo to please her.
As we watched, I recall that Beri asked me, "Lucy, do you like watching this, her enjoying the dildo"? I probably told him that I found it very sexy and very beautiful, because I know I did.
Feeling very sexy, I know I said to Beri, "I would like to have one of those."
It was a beautiful object, Will, and as I will describe later, Beri soon brought me just that kind of toy. I I had it for us to play with now.
As time passed, the woodworker and the young wife become dependent on their meetings for sex and they each become more assertive in expressing their wishes to their partner. The craftsman especially enjoyed teasing the young wife, serving her very slowly in every position until she would beg him to go faster and harder to give her relief. Will, I found watching these scenes very erotic. In fact all of the sex between these two actors seemed so real to me— and so meaningful to them, whatever their motives in agreeing to be filmed.
