General
Complete name : Behind.The.Green.Door.1972.avi
Format : AVI
Format/Info : Audio Video Interleave
Format settings : BitmapInfoHeader / WaveFormatEx
File size : 1.48 GiB
Duration : 1 h 12 min
Overall bit rate : 2 920 kb/s
Frame rate : 23.976 FPS
Writing application : VirtualDubMod 1.5.4.1 (build 2178/release)
Writing library : VirtualDubMod build 2178/release
Video
ID : 0
Format : MPEG-4 Visual
Format profile : Advanced Simple@L5
Format settings : BVOP1 / Custom Matrix
Format settings, BVOP : 1
Format settings, QPel : No
Format settings, GMC : No warppoints
Format settings, Matrix : Custom
Codec ID : XVID
Codec ID/Hint : XviD
Duration : 1 h 12 min
Bit rate : 2 722 kb/s
Width : 720 pixels
Height : 544 pixels
Display aspect ratio : 4:3
Frame rate : 23.976 (24000/1001) FPS
Color space : YUV
Chroma subsampling : 4:2:0
Bit depth : 8 bits
Scan type : Progressive
Compression mode : Lossy
Bits/(Pixel*Frame) : 0.290
Stream size : 1.38 GiB (93%)
Writing library : XviD 0039 build=2005.09.25 (2005-09-25 UTC)
Audio
ID : 1
Format : AC-3
Format/Info : Audio Coding 3
Commercial name : Dolby Digital
Codec ID : 2000
Duration : 1 h 12 min
Bit rate mode : Constant
Bit rate : 192 kb/s
Channel(s) : 2 channels
Channel layout : L R
Sampling rate : 48.0 kHz
Frame rate : 31.250 FPS (1536 SPF)
Compression mode : Lossy
Stream size : 99.4 MiB (7%)
Alignment : Split across interleaves
Interleave, duration : 96 ms (2.30 video frames)
Interleave, preload duration : 96 ms
Language : English
Service kind : Complete Main
Quote:
Za zelenými dveřmi (festivalový název)
USA Behind the Green Door
Pornografický / Drama
USA, 1972, 72 min
Režie: Artie Mitchell, Jim Mitchell
Kamera: Jon Fontana
Hudba: Daniel Le Blanc
Hrají: Marilyn Chambers, Ben Davidson, Jim Mitchell, Artie Mitchell, Johnnie Keyes
Quote:
Tento film by se dal v českém překladu přeložit něco jako "Za Zelenými dveřmi", snímek byl jedním z prvních erotických průkopníků tzv. "uměleckého porna, nebo-li jakési ho experimentu", který si kladl za cíl zpřístupnit erotické snímky běžným popcornovým divákům, a zároveň těžil se zájmu, který ve stejném roce vzbudil snímek "Deep Throat" ( Hluboké hrdlo 1972). Co do počtu odvážných scén a tvrdosti tohoto konkurenta značně pokoří, stavěl bych ho zhruba tak na stejnou kolej s "Devil In Miss Jones". Film má plných dvaasedmdesát minut, z toho nejméně šedesát se hromadně prosouloží (divoké orgie, Gloria se třemi muži, grupáč, žaludek se mě ale zvedal při pohledu na tu asi stopadesát kilo vážící ženskou s rukou v klíně). Tak zhruba do dvacáté minuty, působí film zcela nevinně (prakticky se v něm skoro vůbec nemluví, od Glorie jsem neslyšel ani slovo) a vy si myslíte že jste přišli jen na nějaké pantomimické představení, ale pak už to bez přestávky jede a jede. Skvělá je určitě i hudba (která se stupňuje právě souloží a následným vyvrcholením), dále třeba prolínání barevných psychedelických obrázků, vzpomalené záběry při ejakulaci apod. Elegantní pornofilm jak mu také bylo přezdíváno, tenkrát nešokoval jen názornými sexuálními výjevy. Na rozdíl od provokativních a smyslných hrdinek z jiných filmů té doby ať už mladších či starších, tak hlavní představitelka Marylin Chambers (u mě zatím NO.1 pornstar, předčila tak zatím i jiné hvězdy a dnes už legendy porno filmu Lindu Lovelace i Georginu Spelvin) ze sebe vyzařovala jak svěží tak i nevinný půvab, který ji v minulosti dokonce zajistil i roli v americké reklamě, na prací prášek, na praní dětskéh prádla. Film měl pochopitelně ve své době velké problémy s cenzurou a jako jiné byl dokonce na delší dobu soudně v několika amerických státech snad až někdy do poloviny osmdesátých let zakázán.
Quote:
A Woman's Fornication Film ?
1972 was, of course, the year that porno briefly became "chic", entirely due to a triumvirate of films that have lost little 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 different BEHIND THE GREEN DOOR. Different 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 women 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. Supporting the distinction between "rape fantasy" (fuelled by bodice-ripping romance novels) and the disturbing reality, GREEN DOOR details the feature-length subjugation of one woman fair-haired all American girl 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 told 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 soldiers ever since the Second World War, framed by the supposed eye witness account 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 girl Barry had been flirting with mere moments before, they watch her being dragged (by Jim & Artie no less !) into a car and speeding off. As coincidence would have it, she turns out to be the main attraction at the mysterious Green Door Club both men frequent later that night. Making their bid for real world respectability, the Mitchells enlisted a pair of minor celebrities for brief appearances at this stage. Former pro football player 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 few elements that really date this film. Though she's an unwilling participant at first, Gloria gradually grows to enjoy the erotic experiences afforded by her captors, a rapt audience progressively partaking which shifts the film's focus from stage to auditorium. In a key element to women's enjoyment of the premise, Gloria is immediately soothed by a sympathetic, tellingly mature matron (with the hint of a British accent, supplied by Linda Grant who thereby has the most extensive dialog scene in the movie) who assures that no harm will come to her and that she should just open herself up okay, you can stop sniggering ! to the physical pleasures that await her. Ravishment by half a dozen women 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 man 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 now unfortunately seems mostly like the brothers showing off their technical prowess as it tends to stop the film 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 recent French critic likening the film to the works of Godard and Ozu in light of the brothers' documented film 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 actually holds up well for most part, save for its few dated aforementioned stylistic touches. By restricting their central heroine to complete silence throughout, the Mitchells adopted the "blank screen" approach onto which each viewer can project his or more specifically her private fantasies. There had been cute girls in porn prior to 1972, like Tina Russell for instance, but Chambers was without doubt the first truly beautiful woman to enter the industry, her until then minor real world recognizability facilitating audience identification. It may also be an important 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 genre was still in its infancy and feeling its way is the haunting and utterly non-porno type music composed by Daniel Le Blanc which perfectly accompanies this timeless and still tantalizing classic.
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