IMDb > Pornography in Hollywood (1972)

Pornography in Hollywood (1972) More at IMDbPro »


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Surprisingly decent hard-X documentary See more (1 total) »

Cast

  (in alphabetical order)
Ron Darby ... Himself (uncredited)
Robbin Day ... Herself (uncredited)

Uschi Digard ... Herself (uncredited)
Neola Graef ... Herself (uncredited)
Eric Jeffrey Haims ... Himself (uncredited)

John Holmes ... Magazine cover (uncredited)
Carlos Tobalina ... Himself (uncredited)

Directed by
Carlos Tobalina  (as John Kirkland)
 
Writing credits
(in alphabetical order)
Ron Rheego 

Produced by
Leonard Kirtman .... executive producer
Leonard Kirtman .... producer
 

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Additional Details

Also Known As:
"Permissiveness in Hollywood" - USA (bowdlerized title)
"The Blue Box" - Australia (video title)
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Runtime:
USA:68 min
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Movie Connections:
Features I Am Curious Tahiti (1970)See more »

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Surprisingly decent hard-X documentary, 23 June 2016
Author: Davian_X from United States

A late entry in the wave of sexually explicit documentaries that briefly flooded theaters after the advent of hardcore, PORNOGRAPHY IN Hollywood, unlike a lot of its brethren, seems unusually focused on providing actual insight rather than simply serving as a compendium of footage for viewers' mental spank banks. Harking back to the earliest hardcore sex exposes – which presumed far more narrative and educational pretext was necessary to "redeem" films' explicit content – it's still not terribly cogent as a documentary, but is of definite historical interest.

Given the content, the film might have been more aptly titled SEX IN Hollywood, since the majority of its build-up focuses on industries that, while definitely sex-related, are not always pornographic. The opening reel is largely devoted to exotic dancers (both male and female) and the proliferation of pornography in Hollywood generally, which leads to fascinating peeks inside newly opened adult bookshops and storefront movie theaters.

The film's next section moves to interviews with filmmakers, and features both Carlos Tobalina and Eric Jeffrey Haims, with each of their new pictures highlighted in clips (I AM CURIOUS TAHITI and 101 ACTS OF LOVE, respectively). Tobalina in particular gets a fair amount of screen time, talking about the need for adult entertainment and his general philosophy of movie-making. In a surprising move that echoes the film's cross-country counterpart PORNOGRAPHY IN NEW YORK, Hollywood also includes behind-the- scenes footage of a gay pic, interviewing a couple actors and showing them in action. Early '70s pornography can be fascinating due to scenes like this, as the rules of the genre had yet to be fully written. While not common to begin with, this type of crossover footage would disappear almost completely within a year or so, as producers learned skittish male audiences wouldn't stand for such gay scenes.

As a matter of fact, a surprising amount of PORNOGRAPHY IN Hollywood is devoted to gay content. After the aforementioned segment, the film moves to a lengthy interview with members of the Metropolitan Community Church, a key player in the early Los Angeles LGBT rights movement with close ties to the nascent gay softcore of Pat Rocco. What exactly this interview has to do with pornography isn't really clear (the pastor briefly says he doesn't condone porn from a religious perspective, but respects his parishioners' right to exercise their sexuality as they see fit), but it's a fascinating segment nonetheless. Again, it seems like the title SEX IN Hollywood would have been more appropriate, though.

After serving up the porno equivalent of a copious plate of vegetables, Hollywood finally lets loose in the last quarter, interviewing a group of players in a straight sex film (being shot in what looks like a motel room) before finally letting us see a pair of them going at it. This is good footage - well-shot and arousing - and for straight viewers not put off by the earlier gay content should provide a nice reward for the lengthy and wide-spanning social history lesson. It's a solid end to a captivating social document, striking the perfect balance of titillation and reportage necessary for white coater success.

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