A goofy king, dressed like a character in a Burger King commercial, his courtier, and his maiden-like daughter dine, attended by sweet pleasant maids. an experienced Lupus viewer is eying every potential bottom on the set. They converse with a warlock, seen at his digs through a looking-glass picture frame. The setting is a fully appointed castle.
The scene cuts to a dungeon room in the castle when two naked young girls are being tortured by red-hooded guards. One naked girl is suspended doubled-up in a small medieval cage and wears an iron mask of infamy, meant to be uncomfortable and embarrassing. a second girl is stretched nude on her back on a rack and struggles erotically as ropes are winched. She is given the water-boarding treatment; we were not as concerned as the first reviewer about its authenticity. Lupus' detail in these scenes is superior to most corny B&D dungeon versions you might find.
The girl on the rack undergoes more humiliation--her feet are released and pulled over her head into the diaper position, then her exposed bottom is caned with a thick rattan model, over 25 slow strokes. The king, courtier, and maids can hear her screams echoing out of the dungeon into the courtyard.
The caged maid is dragged out and put in wrist stocks, and the poor racked girl, her bottom a mess at this point, is stuffed into the cage. The masked girl in stocks is brought naked into the courtyard sunlight and made to straddle an inverted "V" shaped horse, where what parts of her buttocks which can be reached and her lower back are thoroughly birched, while her hands are attached to the mask she wears. she must balance precariously during this procedure, her weight resting where she would like it not to. All this is bizarre and just low enough on the cruelty scale as to be erotic. The burger-king watches from a window.
The maiden dinner companion apparently has been unpersuaded by these demonsrtations and runs off through the castle, only to be apprehended and retrieved by soldiers, more erotic foreplay. She is stripped naked and tied full-length on a bench in front of the king. Her buttocks rise invitingly; the promise of her figure in the princess-costume has been fulfilled.
A soldier is enlisted to cane her, 20 strokes with one instrument and 30 with another. She quakes and wails in best Lupus tradition. The warlock figure appears in the flesh, lays on a few cane strokes of his own, and is apparently appeased and avenged for whatever affront she caused.
Return to dinner scene, the maiden reseated quietly, sore bottoms all around, ncie day at the castle.
The setting (a 13th century Czech castle) and the costumes (which might loosely be described as "operetta mediaeval") place this tale at a time in history when the whip and the torture chamber were the main instruments of justice. Only Adela Valkova's maid's outfit, which she seems to have retained from the 1920s Glamour of Old Times, is a little out of period, but when she, a "wanton", and the princess, are stripped for what they are about to receive we confirm that the proper costume in which to undergo a whipping, the naked body, is timeless in its appearance - and anyone who would criticise the maid for exhibiting less than perfect shaving when she is upended for her caning should remember that this production is set at a time when the products of Gilette and Wilkinson Sword had yet to be discovered.
The problem which gives rise to these thrashings is the refusal of the princess to accept a local Warlock's offer of marriage. In revenge he renders tasteless all the salt in the little kingdom, and consents to renew his offer, and restore the condiment to its natural state, only if the princess is first thoroughly caned, a fate neither she nor her father the King is willing to contemplate.
The Court Chancellor advises however that as the Warlock has somehow got himself confined to a picture frame (in which he moves two-dimensionally, reprising Harry Potter's album) they need only hide the princess and whip the maid in the dungeons until her screams echo throughout the castle, thereby hoping to convince the Warlock that it is the princess who is in agony.
This subterfuge fails but not before we have seen Veronika Velka both stretched on the rack and subjected to water torture (neither of which are genuine of course - while an actress may submit to a whipping which is genuine but will cause no permanent damage, other mediaeval punishments have to be simulated). As these produce no screams she is then birched and whipped, but only moderately, and it is not until she is placed on her back, wrists, waist, and ankles restrained by ropes, legs splayed wide, and a rough dark coloured cane efficiently applied to her bottom and thighs, that a vocal response is obtained. Her cunt (apologies to those of a delicate disposition but this word is well founded in the Old Norse kunta, and there is no other respectable term, whether mound, vagina, labia, etc, which adequately encompasses the whole intimate area) is prominently exposed, and some will be certain that it soon glistens under the lights, and others wonder if the thigh strokes which bridge it do not once or twice make contact with its lovely lips.
Her bottom hole is opened too, but not permanently as it winks in time to the sting of the cane and the clenching of her buttocks.
A further attempt at convincing the Warlock that the hidden princess is being caned makes use of the "wanton", a voluptuous young thing who is kept in a cage in the torture chamber, face masked and and hands tethered in a "scavenger's daughter". She is dragged naked to the palace courtyard and made to straddle the angular spine of a wooden donkey to receive a thorough birching with sharper and more authentic looking birch bundles than have previously been seen in Rigid East/Lupus productions. These soon produce a very raw bottom, but it is her "riding" technique which will entrance the viewer: she clenches her buttocks in response to the birch, thereby concurrently relieving the weight on her nether lips at the front which are wrapped about the sharp edge of the mount, but as she unclenches and sinks down, these said lips creep a little forward, and then back as she clenches again. There is can be no doubt that the sobs with which her torso heaves are genuine.
Thankfully, whatever impression this may make on the viewer, it makes none on the two-dimensional Warlock, and at last we see the beautiful Terezie Versela, playing the princess, naked and tied face down along a bench for a sound caning administered by Pavel Stasny who plays both the King and the executioner. She has a splendid bottom just made for whipping and we soon see its smooth surface scarified by the rough cane which embeds some of its splinters as a more lasting souvenir. And her rampant nipples confirm that the cane stimulates more than just her conscience.
All three whippings proceed until the skin is just broken, a stage which ensures a nippy sensation long after the original sting has subsided. There is therefore much satisfaction for the connoisseur and his or her patience will not be tried by the story line which is nicely paced, provides a little amusement here and there, and allows time to anticipate the next punishment. This production can be thoroughly recommended.
UK REVIEWER