DEEP THROAT (GOLA PROFONDA) (1972)
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geppino12575
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Mi sa che diciamo tutti la stessa cosa: un film di qualità si riconosce a prima vista anche 30 anni dopo, allora mi chiedo: perchè non provare a coniugare le idee cinematografiche di quegli anni, come musica, sceneggiatura, ironia, ecc. e le performance dei nostri giorni con attori probabilmente più performanti rispetto ai primi? Voi mi direte che ci vogliono i soldi, ma è mai possibile che nessuno abbia delle idee e magari voglia di rischiare qualche soldo in quello che puó essere un buon investimento? Secondo me un film fatto con questi criteri al giorno d'oggi avrebbe successo, altrimenti non staremmo qui a discutere di "Deep-throat".
Ci sono registi che facevano film (girati in 35m e commecializzati nelle sale di cinema) molto interessanti negli anni 70-80-90 che poi si hanno dato alla video: F.J. Lincoln, Henri Pachard, Anthony Spinelli, ecc, ma con risultati poco esaltanti. Anche De Renzy ha dovuto nascondersi dietro il nome di "Rex Borsky" e fare dei film per la Rosebud, che alla fine non erano alla sua altezza. Anche il pioniere Lasse Braun, ha cercato verso la meta-fine degli anni 80 a fare dei film negli Stati Uniti con risultati scadenti commerciali.geppino12575 ha scritto:Mi sa che diciamo tutti la stessa cosa: un film di qualità si riconosce a prima vista anche 30 anni dopo, allora mi chiedo: perchè non provare a coniugare le idee cinematografiche di quegli anni, come musica, sceneggiatura, ironia, ecc. e le performance dei nostri giorni con attori probabilmente più performanti rispetto ai primi? Voi mi direte che ci vogliono i soldi, ma è mai possibile che nessuno abbia delle idee e magari voglia di rischiare qualche soldo in quello che puó essere un buon investimento? Secondo me un film fatto con questi criteri al giorno d'oggi avrebbe successo, altrimenti non staremmo qui a discutere di "Deep-throat".
Il video uccide (video kills).... I vecchi film si giravano in 6-12 giorni, gli attori imparavano e recitavano la loro parte prima che si girava, si girava con cineprese di 16m e 35m, con budget di US$100,00-$150,000 (cifre astronomique per 20 anni fa). Anche se la Private prende 12 attori e attrice e li manda nei Caraibi, non e' per girare UN solo film. Ne fanno 3-4-5 quasi sui stessi set, fanno servizi fotografici, li mettono all'internet (e ali vendono ai servizi di satellite). Quando piu' di vent'anni fa si faceva un film a $150,000, circolava in poche sale e finiva li. I primi video hard (in Beta e VHs)costavano sopra ai US$80 (20 anni fa!), cioe la gente non acquistava ma noleggiava per i primi tempi. Guardi i prezzi ora, verso U$20-30 per un VHS o DVD hard. Le compagnie che li producono li svendono ai distributori puo' darsi per $10-15 massimo. Si producono piu' di 10,000 film l'anno negli Stati Uniti.
La Vivid, Wicked, Adam & Eve, Sin City si possono permettere di pagare le lore attrici alte quote, e fare film con grandi mezzi per la semplice ragione che dopo li svendono per "pay-TV" (TV a pagamento, a US$7-8 la visione) e al loro sito internet. Le reti di pay-TV non comprano film hard gonzo della Anabolic/ Diabolic, Red Light District.
I primi film delle Swedish Erotica girati in 16m, senza suono, all fine degli anni 70, venivano commercializzati in bobine di una diecina di minuti (si chiamavano deei "loops") su pellicola 8mm. La SE pubblicava anche un rivista dove mettevano le foto. Quando arrivo' il video nel principio degli anni 80, questi loops li hanno messo nello loro serie SWEDISH EROTICA di una durata di un'ora (3 episodi in media in ogni video). Delle volte giravano delle scene supplementari (prendi il caso del film a grande budget STIFF COMPETITION) per poter dopo smerciarli per la serie di video.
I tempi sono cambiati, l'umore e' spesso assente nei film hard che si vedono (all'infuori delle parodie che si fanno su "Star Trek"), nessuno vuole spendere somme enorme per fare dei film hard, e per consequenza nessuno fuori l'industria hard si dedica a scrivere delle sceneggiature per questi film.
Nel "golden age" del hard americano era lecito usare una sceneggiature elaborata, per fare concorrenza al prodotto "mainstream" regolare e anche per ragioni legali. Il prodotto visuale o scritto di un'opera erotica doveva avere degli meriti artistici. Era la questione della definizione della pornografia e oscenita negli Stati Uniti. Il romanzo "Lady Chatterley Lover" (L'amante di Lady Chatterly), e altri sul tema erotico, ha potuto essere finalmente distribuito negli Stati Uniti perche aveva dei meriti artistici. E i film cadevano nella stessa categoria. Nessuno produttore dei film hard di quel tempo voleva spendere $100,000 per girare un film (che usciva 6 mesi-un'anno dopo) e senza garanzia di poter essere ripagato. In piu' doveva tener sempre d'occhio le autorita', che gli facevano processo per "oscenita". Cioe se un film conteneva delle scene violente (si anche a quei tempi, in particolare scene di stupro, di fisting, ecc) venivano eliminate quando erano proiettati in certe citta meno "emancipate". I Mitchell Brothers e De Renzy per anni e anni venivano citati spesso per oscenita', ma non si arrendevano, e continuavano a lottare. Se non per questi pionieri la "golden age" avrebbe durato si o no un'anno.
Oggi non e possibile fare dei film come DEEP THROAT, THE DEVIL IN MISS JONES. BABYFACE, BABYLON PINK, BARBARA BROADCAST, DEBBIE DOES DALLAS, DESIRES WITHIN YOUNG GIRLS, MARY! MARY, THE OPENING OF MISTY BEETHOVEN. Anche se vuoi scivere un bel sceneggiato, e anche se trovi qualche pazzo che e' interessato a produrlo in un film, il risultato e quello che si puo' antecipare. Sara' sepellito negli 10-15 mila film prodotti attraverso il mondo.
Quando soldi Benigni ha speso per il suo PINOCCHIO? Negli Stati Uniti ha fatto pocchi soldi, e tutti erano pazzo di lui e del suo film LA VITA 'E BELLA.
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geppino12575
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- Messaggi: 1390
- Iscritto il: 18/08/2002, 2:00
Benigni con "Pinocchio" non ha riscosso successo in America perchè il film è una cagata pazzesca, diciamola tutta, mentre "La vita è bella" è un film meraviglioso ed è stato giustamente riconosciuto da tutti. Benigni ha fatto "Pinocchio" per un suo capriccio, voleva farlo da sempre e poichè possedeva i soldi, si è tolto lo sfizio.
I registi che hanno voluto portare allo schermo dei loro progetti personali, contro il consiglio degli amici e esperti ce ne sono (Prince, Michael Cimino per HEAVEN'S GATE, Spielberg con "1941", Dennis Hopper con THE LAST MOVIE, ecc).
Anche Marilyn Chambers credeva ripetere il successo di INSATIABLE facendo un sequel INSATIABLE II
http://jadedvideo.com/yz_result.asp?PRODUCT_ID=36227
Puo' darsi che lo si puo' considerare un "classic", ma gli costo' un sacco di soldi (disse che il budget era di $500,000 che poco ci credo, ma certamente era costoso) ma non ha ottenuto i stessi risultati del primo film girato 4 anni prima.
La questione e' la stessa, se si fa un film hard o si fa un film mainstream, nessuno vuole investire se non c'e una certa garanzia di guadagni. I "pazzi" come Damiano, De Renzy, Spinelli, Metzger non ci sono piu'. La Vivid e Wicked fanno film hard a budget costosi perche' e' tutto calcolato. Anche se le vendite su VHS/DVD non saranno quelle promettenti, smerciano il film per l'internet per cable e satellite. Alla fine ricuperanno i costi sia in 1-2-3 anni.
Anche Marilyn Chambers credeva ripetere il successo di INSATIABLE facendo un sequel INSATIABLE II
http://jadedvideo.com/yz_result.asp?PRODUCT_ID=36227
Puo' darsi che lo si puo' considerare un "classic", ma gli costo' un sacco di soldi (disse che il budget era di $500,000 che poco ci credo, ma certamente era costoso) ma non ha ottenuto i stessi risultati del primo film girato 4 anni prima.
La questione e' la stessa, se si fa un film hard o si fa un film mainstream, nessuno vuole investire se non c'e una certa garanzia di guadagni. I "pazzi" come Damiano, De Renzy, Spinelli, Metzger non ci sono piu'. La Vivid e Wicked fanno film hard a budget costosi perche' e' tutto calcolato. Anche se le vendite su VHS/DVD non saranno quelle promettenti, smerciano il film per l'internet per cable e satellite. Alla fine ricuperanno i costi sia in 1-2-3 anni.
Il New York Times ha pubblicato un articolo il 5 sttembre 2004 su questo film leggendario. Un documentario sul "Making of Deep Throat" uscira' l'anno prossimo. Era il tempo di "porn chic" e se la autorita', non avessero fatto tanto chiasso per supprimere quel "piccolo" film la, la storia dell'hard sarebbe molto diverso.
The Long View on 'Deep Throat'
By LAURA M. HOLSON
Published: September 5, 2004
LOS ANGELES
TO hear Brian Grazer tell it, "Deep Throat" did wonders for his sex life.
It was 1976 and Mr. Grazer, who was then a struggling producer trying to make it in Hollywood, had been invited to the home of a wealthy real estate lawyer for a screening of the X-rated film about a woman seeking physical gratification through oral sex. "I remember going there and feeling kind of out of place," Mr. Grazer recalled in a recent interview at his hillside home in Pacific Palisades. "There was a barbecue. It was up in the hills of Beverly Hills and I remember feeling just like, God, out of place because everyone was older and cooler, fancier and richer and I was just figuring it out."
But when the lights went down, Mr. Grazer said, an energy gripped the partygoers, making not only the women there more appealing to him, but him to them. "I literally became infinitely more attractive after that movie." Some couples repaired to private bedrooms, he said. Mr. Grazer, now 53 and an Academy Award-winning producer of family fare like "Apollo 13" and "How the Grinch Stole Christmas," said he went home with a brown-eyed Brazilian woman.
It would be the beginning of a 28-year obsession " not just with his after-party sexual escapade ("Of course I remember it clearly," he said), but with the impact the movie had on the pornography industry, now a profitable big business, and on popular culture. The result of that obsession is "Inside Deep Throat," a documentary that Mr. Grazer produced with HBO and which will be released in theaters next year.
When it was released in 1972, "Deep Throat" ignited a firestorm of criticism as local and federal authorities tried to prevent theaters from showing it, claiming the movie violated obscenity laws and threatened the moral underpinnings of American society. Despite that " or because of it " "Deep Throat" became the first pornographic film to be embraced by a wide audience, openly attended by the likes of Warren Beatty, Jack Nicholson and Jacqueline Onassis.
The movie, made for under $25,000, became the 11th-highest-grossing domestic film of 1973. With subsequent videocassette and DVD sales and rentals, it's now made more than $600 million, making it one of the most profitable films in history. As Mr. Grazer and the film's makers see it, the success of "Deep Throat" was the first real evidence that mainstream America's sexual curiosity could be turned into a corporate money-making machine.
"The sexual revolution was already happening, but hard-core sex hadn't crossed over," said Randy Barbato, who wrote and directed the documentary with his filmmaking partner Fenton Bailey. "It became a flashpoint for the commodification of sex. No one knew hard-core could sell so much."
Mr. Grazer, who put up $1 million of his own money to make the $2 million documentary, said he met Mr. Bailey and Mr. Barbato two years ago. They were introduced by Sheila Nevins, president of HBO Documentary and Family, who recommended the filmmakers " previously responsible for documentaries about sensational topics like Tammy Faye Bakker and Monica Lewinsky, and "Party Monster," a fictionalized account of Michael Alig, the New York club kid now serving time for manslaughter " for Mr. Grazer's project. Originally he had wanted to make a feature film based on the life of Linda Lovelace, the star of "Deep Throat," who eventually renounced the film and the fame that it brought her. But as he learned more about the movie, he said he became even more fascinated with how it reflected a changing society.
Before "Deep Throat," pornographic films were limited mostly to 10-minute "loops," which were viewed privately in the back rooms of adult bookstores or at small clubs. "Deep Throat," which was nearly an hour long and had a satirical, almost campy, plot about a woman who discovers she has a clitoris at the back of her throat, was different. Couples went to see it; it became chic. And the moviegoers weren't all young: Mr. Grazer's own grandmother urged him to see it.
"What was special about `Deep Throat' was that it required of people to expose themselves, to go into a theater, to be seen walking in or walking out," said Gay Talese, the best-selling author of "Thy Neighbor's Wife," a 1981 study of sexual behavior in the United States, in a recent interview. "That was a revolutionary act in the 1970's."
Mr. Barbato and Mr. Bailey interviewed more than 60 people, including crew members, actors, First Amendment lawyers, prosecutors and cultural commentators. The almost serendipitous making of the movie is recalled by the cast and crew, many of them now senior citizens. Its director, Gerard Damiano, recounts how the location scout never found a place to shoot the film, so the actors were forced to shoot it at the Miami motel, the former Voyager Inn, where they were staying. Harry Reems, who was paid $250 to play the lead role, recalls that he got the part only after the original star didn't show up.
The graphic sex in "Deep Throat" offended some feminists " even Erica Jong, whose novel "Fear of Flying," about a woman's sexual liberation, had caused its own stir. "I was appalled at how offensive the idea of a woman with a clitoris in her throat was," she said in a recent interview. "How patriarchal."
The feminists found otherwise unlikely allies on the right. Using interviews and grainy television news clips, the filmmakers show local and federal authorities (spurred by the Nixon administration's fight against smut) confiscating prints of the film, closing down movie theaters and suing those involved with the movie using the Supreme Court's obscenity rulings. Government agencies were concerned, too, that organized crime, which many believed help to finance "Deep Throat," was reaping most of its profits.
The outcry galvanized civil libertarians and celebrities who spoke out in defense of the movie and the First Amendment. Johnny Carson joked about the movie on "The Tonight Show." The term even entered the language: the Washington Post reporters Carl Bernstein and Bob Woodward gave their secret Watergate source the nickname "deep throat."
" 'Deep Throat' was like a virus," Mr. Bailey said. "It spread from the dirty raincoat brigade to suburban America."
The documentary ends by bringing us up to the present. Ms. Lovelace died in a car accident in 2002; Mr. Damiano, the director, became a golf caddy. And pornography became a big business, reflected in many facets of popular culture.
Ms. Jong, who appears in the documentary, sees a disconnect between the freedom of expression that "Deep Throat" promised and what actually transpired. "Now we have total liberation of sexual things but we also have the Patriot Act," she said. "We never made the connection between sexual speech and political speech. Sex today has nothing to do with revolution anymore. It's about capitalism and protecting little profit centers."
Recently federal legislators increased the penalty to broadcasters for so-called indecency. At the same time the Internet has opened vast new markets for pornography. And a wave of porn-star confessionals, including the new best-seller "How to Make Love Like a Porn Star: A Cautionary Tale," by Jenna Jameson, are flooding bookstores.
"I was in Toronto recently, and Toronto is like being in middle America," Mr. Grazer recalled. "And you've got very hot, young, 18-to 20-year-old girls with tongue studs and they are simply, publicly advertising that they are interested in and capable of giving you really good oral sex if you're interested. And that's not even designed to be shocking."
In the meantime, Mr. Barbato suggested, the sort of outward expression of interest spurred by "Deep Throat" in the 70's has turned inward 30 years later, largely because technology allows those who want to indulge their prurient tastes to do so in the comfort of their homes. "Pornography used to be in the back room," Mr. Barbato said. "Then it came out for a minute. Now it is again in the back room " the back room of every house with a computer."
Still, what "Deep Throat" unleashed is unlikely to go away, Mr. Grazer said. "I think we are sexually anesthetized at this point," he said. "There isn't anything we don't consume that doesn't involve sex to sort of grease the pathways. How do I say it? The marketing of anything today worth marketing involves sex."
The Long View on 'Deep Throat'
By LAURA M. HOLSON
Published: September 5, 2004
LOS ANGELES
TO hear Brian Grazer tell it, "Deep Throat" did wonders for his sex life.
It was 1976 and Mr. Grazer, who was then a struggling producer trying to make it in Hollywood, had been invited to the home of a wealthy real estate lawyer for a screening of the X-rated film about a woman seeking physical gratification through oral sex. "I remember going there and feeling kind of out of place," Mr. Grazer recalled in a recent interview at his hillside home in Pacific Palisades. "There was a barbecue. It was up in the hills of Beverly Hills and I remember feeling just like, God, out of place because everyone was older and cooler, fancier and richer and I was just figuring it out."
But when the lights went down, Mr. Grazer said, an energy gripped the partygoers, making not only the women there more appealing to him, but him to them. "I literally became infinitely more attractive after that movie." Some couples repaired to private bedrooms, he said. Mr. Grazer, now 53 and an Academy Award-winning producer of family fare like "Apollo 13" and "How the Grinch Stole Christmas," said he went home with a brown-eyed Brazilian woman.
It would be the beginning of a 28-year obsession " not just with his after-party sexual escapade ("Of course I remember it clearly," he said), but with the impact the movie had on the pornography industry, now a profitable big business, and on popular culture. The result of that obsession is "Inside Deep Throat," a documentary that Mr. Grazer produced with HBO and which will be released in theaters next year.
When it was released in 1972, "Deep Throat" ignited a firestorm of criticism as local and federal authorities tried to prevent theaters from showing it, claiming the movie violated obscenity laws and threatened the moral underpinnings of American society. Despite that " or because of it " "Deep Throat" became the first pornographic film to be embraced by a wide audience, openly attended by the likes of Warren Beatty, Jack Nicholson and Jacqueline Onassis.
The movie, made for under $25,000, became the 11th-highest-grossing domestic film of 1973. With subsequent videocassette and DVD sales and rentals, it's now made more than $600 million, making it one of the most profitable films in history. As Mr. Grazer and the film's makers see it, the success of "Deep Throat" was the first real evidence that mainstream America's sexual curiosity could be turned into a corporate money-making machine.
"The sexual revolution was already happening, but hard-core sex hadn't crossed over," said Randy Barbato, who wrote and directed the documentary with his filmmaking partner Fenton Bailey. "It became a flashpoint for the commodification of sex. No one knew hard-core could sell so much."
Mr. Grazer, who put up $1 million of his own money to make the $2 million documentary, said he met Mr. Bailey and Mr. Barbato two years ago. They were introduced by Sheila Nevins, president of HBO Documentary and Family, who recommended the filmmakers " previously responsible for documentaries about sensational topics like Tammy Faye Bakker and Monica Lewinsky, and "Party Monster," a fictionalized account of Michael Alig, the New York club kid now serving time for manslaughter " for Mr. Grazer's project. Originally he had wanted to make a feature film based on the life of Linda Lovelace, the star of "Deep Throat," who eventually renounced the film and the fame that it brought her. But as he learned more about the movie, he said he became even more fascinated with how it reflected a changing society.
Before "Deep Throat," pornographic films were limited mostly to 10-minute "loops," which were viewed privately in the back rooms of adult bookstores or at small clubs. "Deep Throat," which was nearly an hour long and had a satirical, almost campy, plot about a woman who discovers she has a clitoris at the back of her throat, was different. Couples went to see it; it became chic. And the moviegoers weren't all young: Mr. Grazer's own grandmother urged him to see it.
"What was special about `Deep Throat' was that it required of people to expose themselves, to go into a theater, to be seen walking in or walking out," said Gay Talese, the best-selling author of "Thy Neighbor's Wife," a 1981 study of sexual behavior in the United States, in a recent interview. "That was a revolutionary act in the 1970's."
Mr. Barbato and Mr. Bailey interviewed more than 60 people, including crew members, actors, First Amendment lawyers, prosecutors and cultural commentators. The almost serendipitous making of the movie is recalled by the cast and crew, many of them now senior citizens. Its director, Gerard Damiano, recounts how the location scout never found a place to shoot the film, so the actors were forced to shoot it at the Miami motel, the former Voyager Inn, where they were staying. Harry Reems, who was paid $250 to play the lead role, recalls that he got the part only after the original star didn't show up.
The graphic sex in "Deep Throat" offended some feminists " even Erica Jong, whose novel "Fear of Flying," about a woman's sexual liberation, had caused its own stir. "I was appalled at how offensive the idea of a woman with a clitoris in her throat was," she said in a recent interview. "How patriarchal."
The feminists found otherwise unlikely allies on the right. Using interviews and grainy television news clips, the filmmakers show local and federal authorities (spurred by the Nixon administration's fight against smut) confiscating prints of the film, closing down movie theaters and suing those involved with the movie using the Supreme Court's obscenity rulings. Government agencies were concerned, too, that organized crime, which many believed help to finance "Deep Throat," was reaping most of its profits.
The outcry galvanized civil libertarians and celebrities who spoke out in defense of the movie and the First Amendment. Johnny Carson joked about the movie on "The Tonight Show." The term even entered the language: the Washington Post reporters Carl Bernstein and Bob Woodward gave their secret Watergate source the nickname "deep throat."
" 'Deep Throat' was like a virus," Mr. Bailey said. "It spread from the dirty raincoat brigade to suburban America."
The documentary ends by bringing us up to the present. Ms. Lovelace died in a car accident in 2002; Mr. Damiano, the director, became a golf caddy. And pornography became a big business, reflected in many facets of popular culture.
Ms. Jong, who appears in the documentary, sees a disconnect between the freedom of expression that "Deep Throat" promised and what actually transpired. "Now we have total liberation of sexual things but we also have the Patriot Act," she said. "We never made the connection between sexual speech and political speech. Sex today has nothing to do with revolution anymore. It's about capitalism and protecting little profit centers."
Recently federal legislators increased the penalty to broadcasters for so-called indecency. At the same time the Internet has opened vast new markets for pornography. And a wave of porn-star confessionals, including the new best-seller "How to Make Love Like a Porn Star: A Cautionary Tale," by Jenna Jameson, are flooding bookstores.
"I was in Toronto recently, and Toronto is like being in middle America," Mr. Grazer recalled. "And you've got very hot, young, 18-to 20-year-old girls with tongue studs and they are simply, publicly advertising that they are interested in and capable of giving you really good oral sex if you're interested. And that's not even designed to be shocking."
In the meantime, Mr. Barbato suggested, the sort of outward expression of interest spurred by "Deep Throat" in the 70's has turned inward 30 years later, largely because technology allows those who want to indulge their prurient tastes to do so in the comfort of their homes. "Pornography used to be in the back room," Mr. Barbato said. "Then it came out for a minute. Now it is again in the back room " the back room of every house with a computer."
Still, what "Deep Throat" unleashed is unlikely to go away, Mr. Grazer said. "I think we are sexually anesthetized at this point," he said. "There isn't anything we don't consume that doesn't involve sex to sort of grease the pathways. How do I say it? The marketing of anything today worth marketing involves sex."
Re: DEEP THROAT (GOLA PROFONDA) (1972)
Dal 2009 la Arrow Productions e VCX erano in causa e si contestavano i diritti su DEEP THROAT e DEBBIE DOES DALLAS. Sembra che finalmente si sono accordati e che Arrow detiene il copyright su DEEP THROAT e VCX su DEBBIE DOES DALLAS.
Il problema del copyright su DEEP THROAT risale dal 1972 quando il produttore del film, Lou Peraino, fece registrare il copyright sul film col nome di "Plymouth Distributors", che era una ditta inesistente. Peraino ha venduto Arrow e i film prodotti da essa nel 1994-6. Copie del film DEEP THROAT circolarono in vari tempi senza l'avviso del copyright, e VCX aveva sempre mantenuto che Arrow non deteneva un copyright legittimo su DEEP THROAT. Negli anni 70 Peraino distribui il film nel metodo conosciuto come "four-walling", cioe' lui noleggiava le sale di cinema per un prezzo fisso e lui corserava la totalita' degli incassi al botteghino.
A riguardo di DEBBIE DOES DALLAS, sia Arrow e VCX avevano in vari tempi distribuito questo film (che i due riconoscono era in pubblico domininio), e ora con questo accordo VCX ha diritto esclusivo sulla distribuzione del film.
http://www.courthousenews.com/2011/10/21/40842.htm
Il problema del copyright su DEEP THROAT risale dal 1972 quando il produttore del film, Lou Peraino, fece registrare il copyright sul film col nome di "Plymouth Distributors", che era una ditta inesistente. Peraino ha venduto Arrow e i film prodotti da essa nel 1994-6. Copie del film DEEP THROAT circolarono in vari tempi senza l'avviso del copyright, e VCX aveva sempre mantenuto che Arrow non deteneva un copyright legittimo su DEEP THROAT. Negli anni 70 Peraino distribui il film nel metodo conosciuto come "four-walling", cioe' lui noleggiava le sale di cinema per un prezzo fisso e lui corserava la totalita' degli incassi al botteghino.
A riguardo di DEBBIE DOES DALLAS, sia Arrow e VCX avevano in vari tempi distribuito questo film (che i due riconoscono era in pubblico domininio), e ora con questo accordo VCX ha diritto esclusivo sulla distribuzione del film.
http://www.courthousenews.com/2011/10/21/40842.htm
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Re: DEEP THROAT (GOLA PROFONDA) (1972)
Segnalo agli amanti di questo film, vera e propria genesi della storia del porno, il bellissimo documentario Inside Gola Profonda realizzato nel 2005 dalla rete televisiva HBO.
http://www.megavideo.com/?v=8GUJHEKR
http://www.megavideo.com/?v=8GUJHEKR
Nel '69 ho dato un taglio a donne e alcool. Sono stati i 20 minuti peggiori della mia vita.
Ho speso molti soldi per alcool, donne e macchine veloci. Il resto l'ho sperperato.
(George Best)
Gli uomini si innamorano di quello che vedono e le donne di quello che ascoltano. E' per questo che le donne si truccano e gli uomini mentono.
Ho speso molti soldi per alcool, donne e macchine veloci. Il resto l'ho sperperato.
(George Best)
Gli uomini si innamorano di quello che vedono e le donne di quello che ascoltano. E' per questo che le donne si truccano e gli uomini mentono.
Re: DEEP THROAT (GOLA PROFONDA) (1972)
Da qualche parte si trovano pure degli estratti audio della conferenza presieduta da Adamo, Mereghetti e Sanguinetti per il lancio del documentario in Italia.
Trovati: http://www.feltrinellieditore.it/Interv ... d_int=1660
Trovati: http://www.feltrinellieditore.it/Interv ... d_int=1660
Re: DEEP THROAT (GOLA PROFONDA) (1972)
anche qui c'è il film instreaming: viewtopic.php?f=2&t=31001&p=1329143&hil ... T#p1329143
Tu lo sai che sei su SZ vero? [Parakarro]
Re: DEEP THROAT (GOLA PROFONDA) (1972)
un film di Rex Borsky da vedere anal revolution
le donnre amarle tutte, ma non sposarne nessuna
Re: DEEP THROAT (GOLA PROFONDA) (1972)
Piccolo appunto: GOLA PROFONDA non e' un capolavoro ( inteso come qualita' ) e' un filmetto realizzato con i soldi della mafia che ha avuto la fortuna di essere al posto giusto nel momento giusto, avvalorato dalla presenza di Linda Lovelace, che per vari motivi ha lasciato il segno nel porno negli anni a seguire. Carino e divertente, comunque.
Osservandola, perfino Ratzinger si convincerebbe di quanto sia necessario l'uso dei contraccettivi ( Matt Z Bass ).
Re: DEEP THROAT (GOLA PROFONDA) (1972)
Questo si sapeva dall'inizio (e dettagliato nel documentario "Inside Gola Profonda"). Si sapeva chi aveva finanziato il film, come il film fu finanzato e dove andavano a finire i soldi dopo che le sale di cinema chiudevano ogni notte. Fino ad oggi non si sa esattamente quanti soldi il film incasso' nel 1972-73 (stimato tra $5 milioni a puo' darsi +$60 milioni).Il Fede ha scritto:Piccolo appunto: GOLA PROFONDA non e' un capolavoro ( inteso come qualita' ) e' un filmetto realizzato con i soldi della mafia che ha avuto la fortuna di essere al posto giusto nel momento giusto, avvalorato dalla presenza di Linda Lovelace, che per vari motivi ha lasciato il segno nel porno negli anni a seguire. Carino e divertente, comunque.
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topolinox87
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- Iscritto il: 23/07/2011, 14:29
Re: DEEP THROAT (GOLA PROFONDA) (1972)
Ma di Linda si trovano film in rete?
Re: DEEP THROAT (GOLA PROFONDA) (1972)
DEEP THROAT fu il solo film hard girato da Linda Lovelace. Ne giro un'altro dopo, ma si dice che le scene hard furono rubate/smarrite e usci soft. Tutto il resto proviene da "loops" che lei giro a quel tempo. Di tanto in tanto in rete si trova qualche vecchio loop (di qualita mediocre) di Landa con un cane.topolinox87 ha scritto:Ma di Linda si trovano film in rete?