Graphic Thrills by Robin Bougie - Review

Eight years ago, after having been intrigued and inspired by a couple of films, my life took a sharp detour. I became a part-time writer. As my husband has jokingly pointed out on several occasions, I didn't choose to write about birds. Far from it. My subjects -- considered by some to be unprincipled and deviant, are women and men that decided to take a similar u-turn from a linear life track, to form a community of people that would eventually define the golden era of erotic films. By choosing to become a part of an erotic film society, these individuals dared to embark upon a career that was creative, rebellious, illegal, titillating and enduring. More than forty years ago, many believed that films depicting sex would not sustain the test of time, or hold infinite appeal for those outside of niche groups. No one could have predicted the longevity these films have enjoyed, or the lasting connections made between fans and the various stars. 
     The personalities and players identified and branded by the X-rated film industry have inspired not only burgeoning biographers like myself, but also professional writers, reviewers, academics, filmmakers, historians, journalists, porn archeologists, curators, preservationists, documentarians, illustrators and graphic artists. People such as my co-author and friend Jennifer Sugar, who started her own ball rolling back in 2004 when she decided to pen the very first 'serious' biography profiling a legendary porn star. There are others: Heather Drain, Ashley West, Laura Helen Marks, Jeremy Richey, Denise LaFrance, Adam Wilcox, Mike White, Rob St. Mary, April Hall, Lee Jones, Casey Scott, Steven Morowitz, Dimitrios Otis, and many more have left indelible marks by continuing to honour and pay tribute to these talented artists through various mediums. In a symbolic way, a new tribe of outcasts has risen up to reclaim, document, provide commentary and preserve the integrity and vistages of one of the most significant and compelling eras in cinematic history.
     Last year, it came to my attention that fellow Canadian, comic artist, former writer for Fox and Screw magazines and long time creator and publisher of Cinema Sewer magazine, Robin Bougie, was in the process of developing a coffee table pictorial. Bougie's project was promoted as a paperback dedicated to the X-rated theatrical movie posters designed to attract audiences to pornographic releases. With his focus centering on the golden years between 1970-1985, I was excited to see the finished product. In January of this year, GRAPHIC THRILLS American XXX Movie Posters 1970 to 1985, was published by FAB Press, located in England. I am delighted to share the news that Robin Bougie has produced a remarkable work.
     In his book's introduction, Bougie provides an engaging, informative, and thoroughly researched back story behind the evolution of the erotic film industry, which serves as an excellent Porn 101 crash course, not only for scholars, but also for those who are new to the genre. Robin has incorporated an amalgamation of insights and analyses from various people who were there, and whose recollections are invaluable. Bill Margold, Bob Chinn, Carter Stevens, Paul Johnson, Vanessa del Rio, Jody Maxwell, Veronica Vera,Shaun Costello, and several other notables from the golden era have furnished Bougie with anecdotes and dialogue, which serve to enhance the select films highlighted within the book in the provision of behind-the-scenes information and inspiration.
     The genesis and meat of the publication of course, are the film posters. Each page is a glorious gift, an artistically crafted and beautifully illustrated original artwork. Layouts are themed to articulate sensual and sexual promise using succinct and inventive designs. The exquisitely decorated posters, shown in vibrant colour, practically swallow an entire page. Bougie has supplemented accompanying text; his own evaluation of the films portrayed, often incorporating explanations and offerings supplied by his interviewees to augment the synopses.
     The posters' titles and subtitles deftly communicate an atmosphere of passion and pleasure, insinuating insatiable odysseys and erotic journeys in the company of bad girls, dirty boys, nymphos, girls-next-door, studs, well endowed ladies and well hung men. All parties appear eager and ready to embark on an unforgettable and arousing adventure enticing observers to come along for the ride.
     These are the overriding messages emblazed and embedded within the imagery of the original artwort that mostly depicts sexy, scantily dressed curvaceous women (sometimes, but not always, the stars themselves) beckoning movie goers to dare to go beyond the realm of sexual boundaries.
     Some of the art designs for the films are more subtle, with illustrations of sensual, sinewy female figures peeking out seductively from behind a veil or reclining in a suggestive pose, intimating an aura of mystique and mystery as the unsuspecting and curious awaits. Other images are more explicit, forgoing all pleasantries to encourage movie goers to get down and dirty, along with the stars. 
     Interestingly, but not surprising, is Bougie's revelation that many of the original artists --those affiliated with the movie posters and/or films are unknown or deceased. Others were uninterested or unwilling to be approached to offer their stories or impressions about their involvment with the productions. That's unfortunate, but the concern to potentially comprise one's reputation by going public about having participated in the evolution of an industry still considered taboo by society is consistent with what many authors, documentarians and historians have found. Paradoxically, the forbidden element and renegade allure associated with golden age filmmakers and adult performers stimulates fans, and provides a muse for writers and artists alike.
     "Graphic Thrills" is a major contribution and undertaking. The amount of work, put forth by Bougie in order to bring this project to fruition is commendable and worthwhile. It is obvious from spending time with the publication that a book of this magnitude could not have materialized if it weren't for Bougie's own dedication, respect and passion for the era that is concisely and visually portrayed in the book. I would encourage those with even a glimmer of interest in this fascinating and compelling cinematic period, or with a genuine appreciation of exceptional art expression exemplifying two revolutionary decades of film, to order a copy of "Graphic Thrills." 
     Signed copies of the limited hardcover edition of the book can be purchased here: FAB Press The softcover version can be purchased here: Graphic Thrills Amazon This is the link for Robin's online store: Cinema Sewer
     Congratulations, Mr. Robin Bougie.
    
    

"Favorite Stars and Star Favorites"

L-R Kay Parker, Rhonda Jo Petty, Kitten Natividad, Jill Nelson,
Jeff, Ginger Lynn, Georgina Spelvin and Raven Touchstone

Last Wednesday, October 16, the Goddesses made their triumphant return to Larry Edmunds Bookshop in Hollywood to wow fans and share serious and funny anecdotal accounts of their former lives as Golden ladies of erotic cinema. The six women regaled the crowd with personal reflections, beliefs, thoughts and philosophies, and when each one was asked to name her favourite mainstream movie and describe why, the audience was surprised and delighted. The querie was posed by Peter C., a film enthusiast and writer. Afterwards, Peter penned an essay, a wonderful summation of the evening and book titled "Favorite Stars and Star Favorites" which I have copied and pasted below with Peter's permission. Thank you, Peter, for coming out and for being so gracious.
     Once again, I'd also like to officially thank Ginger Lynn, Kay Parker, Rhonda Jo Petty, Kitten Natividad, Georgina Spelvin (who was unable to join in the festivities last year) and Raven Touchstone for helping to make our intimate reunion evening one of the most memorable and sparkling events since the book's release. I'd also like to thank Emcee Bill Margold, veteran film director Bob Chinn, photographer Kenji, writer/photographer Matthew Worley, Ashley and April from the New York based The Rialto Report, Tom from Cake and Art for designing another spectacular creation, Jeff at Larry Edmunds Bookshop, and all of our friends and fans who came out to support and partake of this celebration. Please follow this link for more photos: Emmnetwork
     Without further adieu, here is "Favorite Stars and Star Favorites" by Peter C.
     
     'Though I met her only briefly at a recent book signing of Golden Goddesses, it was no surprise to learn that Jill C. Nelson, the tender-hearted author of an extraordinarily well written tome and somehow lyrical ode to 25 Legendary Women of Classic Erotic Cinema lists The Heart Is A Lonely Hunter as her all-time favorite “main stream movie.” Nelson, as it turns out, is a lot like Carson McCullers, the novelist who penned the 1940 novel that the film was ultimately based upon. Hunter was the first in a string of books by McCullers to give voice to the rejected, the forgotten, the maligned and the oppressed. Nelson’s 25 (six of whom were at the book signing with her at Larry Edmunds Bookshop) would easily fall into those categories – though those classifications, like most labels, are ill-deserved. John Singer, the Alan Arkin character in the film, is not what he is perceived to be – deaf – and no more – and therefore somehow unworthy of love. In Nelson’s stories about her stars of erotic cinema – there is more there - a whole lot more - to each of her stars. More nuance, more dignity, and more intelligence  – than meets the wide eyed observer. 

     Asking, “What’s your favorite movie?” goes a long way as a kind of shorthand to learn what values resonate with individuals. Rhonda Joe Petty, a one-time look-alike for Farah Fawcett, and still gorgeous at 58, claimed Mel Gibson’s Apocalypto as her favorite – which, if one spends fifteen minutes in her presence, one understands why. “The movie,” Petty said, “is about facing your fears.” Petty is a woman I would not want to cross. She is almost stoic, extremely self-possessed, and when she shared with the audience that, “People who are not OK with my past, are simply not invited into my house,” her tone made it clear that her life has thus far been lived without apology. She is one strong lady, who has obviously faced her fears.
     Also in attendance was Ginger Lynn, who at 50 was the youngest star there. Ginger is a terrific raconteur, and one of her stories was about not being able to find a man who had all the qualities that she required in a male– so - along with a favorite screenwriter, she dreamed up a fantasy – in the form of nine men, and then lived out her fantasies with each before the camera. Her life, at the time, “was about fun. And that was fun!” Ginger is cheerful, exuberant, and decidedly funny – as is her favorite film Arsenic and Old Lace. If one were to look at the poster of the screwball comedy, there is Priscilla Lane bellowing from over the shoulder of Cary Grant – and she might well have been yelling, “This is fun!” For my money, Ginger Lynn would have slipped perfectly into the Lane part.
     The Grand Dame of erotic cinema, Georgina Spelvin, who made the film The Devil in Miss Jones, a remarkable four decades ago, explained that Fantasia is her favorite movie, “Because it has everything in it. It is sheer energy. I could do without Mickey Mouse, but everything else about it rises above animation and it lives in a fantasy of movement. It was totally cutting edge. Nothing else like it had been done before.” Take out the Mickey Mouse reference, and one has a pretty accurate review for The Devil in Miss Jones. Georgina’s favorite film fits.
     Raven Touchstone is an accomplished photographer. When she reflected on her career in the adult film industry, and told of watching Ginger Lynn and Barbara Dare running lines in rehearsal, whilst sipping wine in a hot-tub, she found the actresses in repose to be so incredibly beautiful that Touchstone decided that monumental beauty was beyond words – and in that silent moment of innocent insight, realized that the photographic image was the only way for her to do justice to beauty. The heroine of her favorite movie A Tree Grows in Brooklyn relies on her imagination to capture beauty in much the same way.
     Kitten Natividad recounted her bland experiences as a girl in a sort of unremarkable early life. Then came a time when she “fell down the rabbit hole” and due to excesses that seemed like a good idea at the time, she struggled with drugs and alcohol, but eventually rebounded. Today, she is clean and sober – owns apartment buildings and has made a success in all things considered. Is seems like the ups and downs of Natalie Wood in Splendor in the Grass – Kitten’s favorite movie – would make sense in a “been there, done that” kind of way.
     The last actress in attendance was Kay Parker. Kay Parker is an exquisitely sensual, wildly articulate and mesmerizingly sincere individual who marveled at the full circle nature of screen celebrity in recounting her love, as a girl, for movie actor Troy Donohue which, as it turned out, was not unrequited.  When she finally met the aging star and told him how much she loved his movies - much to her delight - he told her how much he loved hers. Kay Parker has put her film past into a unique perspective –one that asserts “It is all about love, because the opposite of that is shame. And shame is the condition of being unlovable. And I reject that.” The chapter in Nelson’s book devoted to Kay Parker is called The Conduit – and it describes Parker’s contemporary career as spiritual mentor and transcendence counselor – as one that only a “faith in love” stalwart could embrace. Field of Dreams is Kay’s favorite film, which seems to underscore perfectly her ethereal - part fantasy figure – part earth mother – all woman - essence.
     Willliam Margold acted as unofficial Emcee for the evening. Margold, a raucous individual who is known to industry insiders as “Papa Bear,” and is famous as an archivist and adult film historian (and perhaps less famous, alas, for his extensive and honorable charitable work for adult entertainment veterans who have not fared well) told great stories of on and off set mishaps, legal kerfuffles,  and courage – particularly of the women on the panel, and others like them who disdained “the hypocritical morality,” of those “who dreamed of these ladies, but who would not admit that in public.” Margold, a bear of a man, was a kind of sheriff that night, and apparently has been for his last forty years in and around the adult film industry.  He comes across as a “come and get me, I ain’t going anywhere” character, who, in fact, stood toe to toe against would be agents of the law, when adult films were illegal, and the badge boys were looking to lock up men and women who dared to turn cameras on and take clothes off. It’s no wonder that Papa Bear loves High Noon. He’s the Gary Cooper of “X.”
     At the end of the day, Jill C. Nelson has written a lovely and fascinating book about beautiful women, erotic adventurism, social mores, adult entertainment, the movie business, sex and sexuality.

And it has nothing at all to do with “Porn.”'

Peter C.

The Rialto Report: Interview with Bob Chinn

Rhonda Jo Petty in Disco Lady directed by Bob Chinn

During the past several months, adult film documentarian, Ashley West, has interviewed several legendary personalities from the Golden Era and through his extraordinary podcasts titled The Rialto Report, has presented their fascinating life stories. West's credentials in this field are nothing short of impressive. In conjuction with The Rialto Report, Ashley has also contributed liner notes, commentaries and more for the re-release of Distripix films under the name Benson Hurst and is currently working on a documentary about the origins of the New York adult film scene. (See: Ashley West.) Until recently, West's comprehensive episodes have centered on men and women involved in sex films on the east coast of the United States. Yesterday, Rialto Report's latest offering highlights the voluminous work of pioneer filmmaker Bob Chinn, who became familiar to adult audiences through his partnership with John Holmes particularly via the innovative and highly popular Johnny Wadd film series, with nine releases spanning between 1971-1978.
 
This podcast will be of special interest to fans not only of Bob Chinn, John Holmes, and the films they created together, but most significantly, in his usual disarming manner, Bob discusses in great detail and with impeccable recall many of  thetalented actors and actresses he had the pleasure to direct throughout his extensive career spanning four decades. Several of the ladies who were fortunate enough to cross paths with Bob (one of the most admired and respected men in the business) are featured in Golden Goddesses. All were quick to sing his praises and respect him very much. Check out Bob Chinn's page for his first novel, Flesh of the Lotus, inspired by the film by the same name: Flesh of the Lotus



Bob Chinn's Jade Pussycat with John Holmes and Georgina Spelvin

I am delighted to have been invited by Ashley West to co-present this special two hour episode as Bob Chinn is clearly one of the most intelligent and intriguing individuals to have left his mark in the golden age arena, and I'd like to personally thank Ashley for doing a masterful job in preparation for this show. Your tireless work and professionalism are simply outstanding.
 
So grab a refreshment, kick back and enjoy the ride as you time travel with Bob Chinn back to the late 1960s and into the present day. You definitely will not be disappointed. The podcast (#18) titled, Bob Chinn, West Coast Pioneer may be accessed here: Rialto Report: Bob Chinn