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1972 was, of course, the year that porno briefly became "chic", entirely due to a triumvirate of movies that have lost tiny of their iconic stature three and a half decades further down the line. Queens hairdresser turned quim artist Gerard Damiano unleashed the double whammy of DEEP THROAT and DEVIL IN MISS JONES while the ultimately tragic Mitchell Brothers pooled their considerable talents and resources for the very various BEHIND THE GREEN DOOR. Various in its approach to erotica, making a serious bid for highbrow respectability rather than just content to stimulate its audience's groin area, it was clearly intended to appeal to girls as well as men. As a result, the female contingent of its viewer-ship during its initial theatrical run at the brothers' fabled O'Farrell cinema was rumored as being uncharacteristically high. Though exact numbers are nigh impossible to come by, it has also been documented elsewhere that an inordinate amount of female buyers procured the cassette when it was launched on its particularly profitable video career. Helping the distinction between "rape fantasy" (fuelled by bodice-ripping romance novels) and the disturbing reality, GREEN DOOR features the feature-length subjugation of one girl fair-haired all American woman Gloria Saunders, portrayed by former Ivory Snow model Marilyn Chambers in her indelible adult baptism by fire abducted and taken to an underground sex club where for one night she's said she will be publicly "loved like she has never been loved before" with freedom returned to her the next morning.Story was taken from an anonymously penned pamphlet that has been passed around among troops ever since the Second Globe War, framed by the supposed eye witness acc of two "Everyman" types, strapping young Barry (George S. MacDonald, the boyfriend from David Gerber's superlative SCHOOLGIRL) and elderly Dudley (character actor Yank Levine, who played Abraham in the Mitchells' ill-fated epic SODOM & GOMORRAH) to an inquisitive diner cook. Helpless to save the woman Barry had been flirting with mere moments before, they watch her being dragged (by Jim & Artie no less !) into a vehicle and speeding off. As coincidence would have it, she turns out to be the main attraction at the mysterious Green Door Club both boys frequent soon that night. Making their bid for true globe respectability, the Mitchells enlisted a pair of minor celebrities for brief appearances at this stage. Former pro football user for the Oakland Raiders Ben Davidson plays the bouncer and Angela Castle a/k/a "Toad Attell", who was a regular on Sid Caesar's family-oriented YOUR SHOW OF SHOWS, performs her patented mime routine which stands as one of several elements that really date this film. Though she's an unwilling participant at first, Gloria gradually grows to play the erotic experiences afforded by her captors, a rapt audience progressively partaking which shifts the film's focus from scene to auditorium. In a key element to women's enjoyment of the premise, Gloria is instantly soothed by a sympathetic, tellingly mature matron (with the tip of a British accent, supplied by Linda Grant who thereby has the most extensive dialog stage in the movie) who assures that no hurt will come to her and that she could just launch herself up okay, you can stop sniggering ! to the physical pleasures that await her. Ravishment by half a dozen girls in stylized nun garb, beautifully shot at strangely skewed angles by regular Mitchell DoP Jon Fontana (who worked on AUTOBIOGRAPHY OF A FLEA and their rarely revived CB MAMAS), leads to Gloria's response to the call of nature in the shape of the industry's original black stallion Johnny Keyes in an all time classic encounter. No longer on the receiving end, our silent heroine reciprocates in the legendary trapeze number with Mick Jones (another boy of color, also in Ann Perry's COUNT THE WAYS and Gary Graver's V THE HOT ONE) and an early appearance by Tyler Reynolds, culminating in the extended solarized spurting that actually unfortunately seems mostly like the brothers showing off their technical prowess as it tends to stop the movie dead for a ten minute stretch. The highly ritualized theatrical "performance" contrasts effectively with the spontaneous action bursting out among the rapt audience, including an imposing obese lady whose presence has engendered reviewer references to Fellini, along with a newest French critic likening the movie to the works of Godard and Ozu in light of the brothers' documented movie school training. Great, so at least I don't have to venture down a path that can logically only lead to ridicule ! More than just a hardcore history relic, GREEN DOOR now holds up well for most part, save for its several dated aforementioned stylistic touches. By restricting their central heroine to finished silence throughout, the Mitchells adopted the "blank screen" approach onto which every viewer can project his or more specifically her personal fantasies. There had been pretty women in porn prior to 1972, like Tina Russell for instance, but Chambers was without doubt the first truly pretty girl to enter the industry, her until then minor true globe recognizability facilitating audience identification. It may also be an necessary factor, as critic Danny Peary points out, that the sexual feats she performs are relatively modest in comparison to those achieved by Linda Lovelace and Georgina Spelvin around the same time and therefore quite attainable for the average Jill Public. Further proof that the category was still in its infancy and feeling its method is the haunting and utterly non-porno kind melody composed by Daniel Le Blanc which perfectly accompanies this timeless and still tantalizing classic.
Unlike most of todays porn pictures, Behind the Green door is a well made film, cute nice camera work for a film in this genre. It takes its time until it becomes explicit, but I did not feel inclined to push the quick forward button, since the movie works cute well as a film and not only as a method to arouse the viewer erotically, though it still is an amazingly sexy piece of work.
Before the Mitchell Brothers made what is probably their masterpiece with 1973's 'The Resurrection of Eve', they made this film. Behind the Green Door is a strange and surreal porn flick that details everything you'd expect (and more!) in a weird dream-like setting. The movie is cited by some to be an influence on Stanley Kubrick's final movie Eyes Wide Shut - and it's certainly very obvious why. The plot focuses on the concept of a young woman being kidnapped. She is taken to a strange underground club, where the clients wear elaborate masks and costumes, and forced to perform different sex acts on stage. As a porn film; Behind the Green Door is likely to be a bit too strange for some, and as a movie - there's far too tiny going on in the plot departments and despite the setting, it later degenerates into a easy collection of porn sequences. It is very well filmed, however, and while we're seeing things like blow jobs and lesbian sex that we've all seen in many another films; the Mitchell Brothers somehow manage to create it seem various to what we've seen before due to the execution. I can't tell that the movie works as a finished entire - I didn't search it very erotic and there's really not a nice deal going on outside of the many sex scenes. Still, this is undoubtedly an interesting movie and followers of XXX items will likely wish to track it down.
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