When the door is opened at hotel after the beach scene, the door handle has a magnetic key card slot, specifically a Ving Card 980 not released until the mid-to-late 1990s. See more »
I had the misfortune of meeting Chuck Traynor, but it didn't start out like you're describing. He was a gentleman when I first met him. He was always opening doors for me and lighting my cigarettes and he was very charming when he wanted to be... and I was young, you know, I was twenty-one when I went to live with him... and it wasn't until after that, that things just started to change. He started talking about different sexual things, things that I had never heard of before, things that I - I...
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This bio film of Deep Throat star Linda Lovelace is more interesting than most user comments admit, though in the end as bad as they say.
Linda's lifestory is a chain of confabulation and reinvention, all lives are, a matter of how we view our selves after the fact and deciding on the value. She wrote apparently no less than three autobiographies, with the third one being the 'real' dark story of what happened to her.
So the 'rise' part of the film sees a wholly innocent, fresh young girl being enticed - so pure and shy she won't even take her top off as she sunbathes with a friend in her own backyard! Silly. But that is how she chooses to frame herself reminiscing in the bathtub.
The 'fall' shows those gaps of horrible abuse that were omitted in that first narration. But that is what she chooses to recall as years later she takes a polygraph test on the behest of the publisher of her memoirs. And that is how Linda has chosen to present her story in her own book, herself pure and corrupted by a crazed husband.
This is not to say that she's making everything up, just as we know she isn't completely honest. Truth is usually somewhere in the middle. We see the alleged rape at gunpoint, yet there's no mention of her seedier films which she had denied doing until proof showed up.
So a film worthy of the subject would show two Lindas at odds, a softer understanding of the effort of trying to decide just who you are: the one who (re)writes her story, and the one who is genuinely caught up in it.
Here we simply get Linda the victim. In the end, a cleansed Linda goes on TV to warn against abuse and to promote 'finding yourself'. The film tries to show this reinvention of self and memory by being itself reinvented halfway through, yet in the end plies the same manipulation. The film 'settles' on her story being real, and presents it to us as the life of Linda Lovelace, why, because it comes with positive value we'd rather remember.
4 of 6 people found this review helpful.
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