AUTOR IZ DAVNOG VREMENA KADA JE PISAO SVOJU PRVU KNJIGU „KRILATA KATEDRA”...
Poput mnogih drugih, tako je i Zoran Modli rođen sredinom prošlog veka u Zemunu i za sada je živ i zdrav. Nije odmah postao pilot. Najpre je kao odlikaš završio osnovnu školu, a onda alarmantno srozao uspeh u Prvoj zemunskoj gimnaziji. Od mature se oporavio u redakciji „Politike ekspres”, a sa dvadesetak godina proslavio kao revolucionarni disk-džokej Studija B i legendarne zemunske diskoteke „Sinagoga”. Studio B je, posle pet godina, napustio iz više razloga, a najviše zbog letenja. Od tada je jednom nogom u raznim radijima, a drugom i obema rukama u avijaciji. Pošto je bliska rodbina, a naročito najbliža – majka – očekivala da završi kakav-takav fakultet, uradio je pola posla, pa završio Višu vazduhoplovnu pilotsku školu u Beogradu.
Kao instruktor letenja, najpre na sportskim aerodromima, a zatim u Pilotskoj akademiji JAT u Vršcu, školovao je na desetine naših i stranih pilota. Mnogi od njih odavno su kapetani JAT-a, ali i drugih kompanija širom sveta. Dvadeset godina je leteo u JAT-u, a najviše vremena proveo na nikad prežaljenom boingu 727, nad kojim lamentira kad god mu se za to pruži prilika. Od ranih devedesetih pa sve do prvog poglavlja ove knjige leteo je i kao kapetan na biznis-džetovima kompanije Prince Aviation. Za njim su bezbrojni sati sjajnih iskustava. Poslednje je bilo loše, ali korisno za ovu knjigu.
Živi u Beogradu, a u mislima u svim onim gradovima na čije je aerodrome sletao.
... I U OVA NOVA VREMENA, DOK OČEKUJE NOVO IZDANJE „PILOTSKE KNJIGE“.
Where the film succeeds is in its atmosphere and the unexpected chemistry of its cast. Barkwith is not a professional actor, but his natural posh-buffoonery feels authentic. He fumbles his lines, blushes genuinely, and his discomfort when standing in just his socks and cufflinks while Mistress Elara critiques his posture is palpably real.
The premise is promising. Lord Barkwith (played with genuine, if awkward, commitment by the man himself) inherits a crumbling country estate only to discover the deed is legally contested by a collective of sharp-tongued, impeccably dressed descendants of the manor’s original steward family. Their condition for settlement? Barkwith must submit to a series of “forfeits” – each one engineered to leave him naked and flustered, while they remain fully clothed and in control.
In the niche world of CFNM (Clothed Female, Naked Male) entertainment, the concept of power reversal is everything. The genre’s appeal hinges on psychological tension, vulnerability, and the erotics of status. Lord Barkwith CFNM attempts to inject a uniquely British, class-conscious twist into that formula: what happens when a bumbling, hereditary aristocrat finds himself perpetually disrobed and utterly outwitted by the very women he once sought to patronize? Lord Barkwith Cfnm
Sadly, the good will generated by the first half hour evaporates under a series of self-inflicted wounds.
First, the pacing is glacial. The film runs 87 minutes, which is about 30 minutes too long for its core concept. Entire sequences repeat: Barkwith loses his clothes, Barkwith protests, a woman smirks and quotes a clause from a fictional 18th-century act. By the 60-minute mark, the power dynamic has become monotonous rather than tense. Where the film succeeds is in its atmosphere
The CFNM elements are strictly observed. Not once does a female cast member disrobe, while Barkwith finds himself in progressively more absurd states of undress – from a missing towel after a “traditional” bath, to being forced to present a legal argument wearing only a bow tie and a pair of borrowed wellingtons. The best scene involves a formal tea service where Barkwith must balance a biscuit on a very precarious part of his anatomy while discussing property easements. It’s silly, but it works.
Genre: Adult Comedy / CFNM (Clothed Female, Naked Male) Director: (Credited to “The Viscount of Verve” – likely a pseudonym) Starring: Lord Barkwith (as himself), Mistress Elara Vane, Tilly Munroe, Claudia Saint The premise is promising
Second, the production values are alarmingly uneven. The manor location is genuinely stunning, but the sound mixing is amateur. In several scenes, Barkwith’s mumbled apologies are drowned out by the clatter of a real tea trolley or, inexplicably, birdsong from outside. The lighting is flat and unflattering to everyone, which is a particular sin for a genre built on visual contrast between clothed elegance and naked vulnerability.
Third, and most critically, the film suffers from an identity crisis. It can’t decide if it wants to be a genuine erotic power-exchange drama, a bawdy British sex comedy in the Carry On tradition, or a parody of period legal thrillers. The result is a tonal whiplash. A scene of genuine, simmering erotic tension (Barkwith on his knees, being measured for a “symbolic livery” by a silk-gloved Claudia Saint) is immediately followed by a three-minute montage of Barkwith falling through a hedge. The comedy undercuts the eroticism, and the eroticism makes the comedy feel uncomfortable, rather than risqué.
However, the poor pacing, technical shortcomings, and tonal indecision prevent it from being a genre classic. It is neither consistently funny enough for the comedy crowd nor consistently arousing enough for the CFNM aficionado. It falls into an uncanny valley – a British folly that is too self-aware to be trashy and too clumsy to be sophisticated.
Rent it only if you are a dedicated CFNM enthusiast with a specific interest in British class satire and a high tolerance for amateur sound design. For everyone else, the delightful Mistress Elara is best enjoyed via a highlights reel on a free streaming platform. Lord Barkwith bares all – but unfortunately, so do the film’s flaws.
