erotic dimension for the viewer which is totally absent from the action.
Cruel redskin stereotypes are pretty much consigned to history in our more enlightened times. The people of the Middle East are not so lucky, but but this fanciful invocation of a slave market is pure fantasy. Once again, we have three enviable, white hunks held captive, but this time they are facing an uncertain future in servitude. Presumably some cruelty will be involved, but as long as their new owners allow them ample use of gym facilities, they should be OK.
Observe how remarkably clean and uncrowded the market is, Baron's 'realism' is that of the glossy entertainment industry rather than 'warts and all' historical authenticity. This place is actually more akin to an upmarket bordello, where scarce gems like this can be constantly recycled for greater profit.
Baron's settings go back to Medieval times and Ancient Rome and he's on safer ground depicting the cruelty and punishments from those eras. In this crucifixion scene, once again, it's the knowledge of what is to come that drives the drama, although the use of ropes instead of nails and the traces of cuts and bruises give ambiguous messages. The expression of the naked victim as he watches the arrangements for his demise being dispassionately completed around him is quite arresting. The crowded perspectives in this picture are not entirely successful, but highly dramatic, lending a purposeful bustle and complexity to the gang's activities.
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