Dec 18, 2014
Admittedly, I have less respect for the opinions and experiences of feminist Jewesses than that of elderly ex-felon negro janitors or Vietnamese nail salon beauticians who moonlight as a giver of a “special massages,” so the last thing I would want to see is a documentary directed by frigid sexless Semitic misandrists of the oftentimes Sapphic sort, yet I could not help but watch the literally and figuratively cunty Canadian agitprop piece Not a Love Story: A Film About Pornography (1981) aka Not a Love Story: A Motion Picture About Pornography directed by Judaic femi-bolshevik documentarian and cripple rights advocate Bonnie Sherr Klein. My interest in seeing the decidedly deluded doc came after discovering that it was ironically once banned in the province of Ontario due to its pornographic content despite its overt anti-porn message. Directed by the mother of the much more famous but no less radically repugnant Jewish socialist feminist writer Naomi Klein (who is notable for her anti-Zionist stance, even once stating regarding the Israeli’s treatment of Palestinians, “[Some Jews] even think we get one get-away-with-genocide-free-card”), Not a Love Story is a sometimes unintentionally humorous schadenfreude-packed example of a hysterical Hebraic feminist complaining about a world she and her Adorno-adoring people helped sire via their promotion of so-called sexual revolution, women’s liberation, and Marcusian cultural Marxism. Featuring real porn starlets, strippers, and fuck show performers doing what they do best and discussing their unconventional forms of employment, as well as a variety of largely Hebraic and uniquely sexually unappealing feminists and neurosis-driven far-left-wing nuts that are intentionally misleadingly introduced with generic labels like “writer/poet” as if the doc was not mostly a yippie affair and did not have more hysterical heebs than a Jewish wedding, giving their opinion on the proliferation of porn in the post-counterculture age, Not a Love Story is patently preposterous pornographic anti-porn that ironically proves to be a nostalgic experience for fans of ‘porn chic’ aka the Golden Age of Porn. A Canadian government-funded work that was produced by Studio D—a now-defunct feminist/lesbian branch of the National Film Board of Canada founded in 1974 that was the first government-funded film studio dedicated to ‘women’ (aka kosher carpet-munchers) filmmakers and is probably best known for the dyke doc Forbidden Love: The Unashamed Stories of Lesbian Lives (1992) co-directed by Sapphic Semites Lynne Fernie and Aerlyn Weissman—Klein's 69-minute doc (I wonder if the running time was intentional?!) is like a pornographic pseudo-arthouse exploitation montage as molested by the pathologically pedantic pseudo-intellectual musings of various largely downright ugly, swarthy, and hairy self-stylized feminist true believers who seem more than a little bit irked by the fact that men can gawk at hot women they themselves would like to defile but would never ever get the opportunity given that they are physically and mentally revolting hags on a self-righteous ego-trip. Indeed, the great thing about Not a Love Story is that unless you’re a man-hating feminist dyke, spiritually castrated male feminist, or brainwashed college student who thinks they are progressive because some limp-wristed college professor defecated on their brain, the doc will either reinforce your revulsion of everything feminist or will inspire you to hate feminists if you don’t already do.
Opening with a conspicuously contrived scene where so-called ‘eco-feminist’ Susan Griffin self-righteously proclaims that the Valentine’s Day edition of Hustler magazine is an example of “pornography revealing itself” because it features “the heart imprisoned, the heart on its knees” via its playful pictorials of women in bondage, Not a Love Story immediately establishes itself as not an objective film but as a polemical and misandristic hate-fueled movie manifesto where high-strung Hebraic hags invade pornographic realms, visiting Toronto, Los Angeles, 42nd Street in NYC, etc. From there, Klein enters the red light district of Ontario and narrates, “A woman’s contortions…a woman that could be me. On the streets around me, women’s bodies are offered for fantasy. Everywhere, illusions are for sale. I need to understand what is going on behind these doors and how it affects my own life.” Of course, the woman would NEVER be Klein as no man, no matter how desperate, would want to see her unclad ‘contortions’ (or lack thereof), let alone partake in some sort of sexual act with her unless they had some bizarre fetish for frigid femicunts. The central subject of the doc, if there is one aside from the hairy-armed director, is a confident, charming, cute, and quirky stripper named Linda Lee Tracey aka “Fonda Peters” who Klein states of, “When I met Linda, I admired her comfort with her sexuality, but I discovered she was also asking questions about pornography.” Tracey loves making her living doing a parody-based comedic strip routine where she playfully mocks her sleazy male patrons and she describes how she once attended a feminist anti-porn rally where the feminists treated her in a blatantly condescending fashion by saying things to her like “oh, poor you” thus leading her to come to the conclusion that these ostensible women's rights advocates had the same opinion of her as the most misogynistic of men, or as she states herself, “It’s the same line men are using. Women are stupid.” Of course, as Not a Love Story ultimately demonstrates, Tracey is one of the few smart, semi-sensible, and likeable women in the entire film, as she is not fueled by hatred or resentment, but a genuine intellectual desire to investigate the workings and motivations behind the sex industry. Indeed, the major difference between the feminists and so-called ‘sex workers’ (to use a convenient yet retarded politically correct phrase) aside from the glaring contrast in terms of attractiveness is that while the former group is discernibly sexually neurotic and quite bitter about it, not to mention pathetically pretentious, the latter group is quite confident and unpretentious.
In one of the more incriminating segments of the documentary, blonde British female porn photographer and director Suze Randall is interviewed and states regarding her erotic works, “I certainly don’t look for a deep meaning in this.” Later in the doc, Randall personally lubes up Linda Lee Tracey’s pussy with a Q-tip for a photo shoot, which is shown in graphic detail, as if to demonstrate that the photographer is a devilish defiler and manipulator who exploits girl's pussies for profit. When Canadian porn magazine publisher David S. Wells is interviewed, he does not hold back blaming sexual liberation as resulting in the rise of pornography as he feels that the movement resulted in the emasculation of males. In Wells' mind, porn is a tool, albeit a rather pathetic one, that men use to reaffirm their masculinity. Needless to say, Klein seems more than a little bit annoyed when Wells states, “the greatest turn-on for a man is having a woman kneeling at his feet performing fellatio” and “men don’t want to be equal to women…simple as that.” In one of the more pathetic sections of the doc, a bisexual Jewish ex-porn star named Marc Stevens (real name Martin Feldman), who starred in porn chic classics like Gerard Damiano's The Devil in Miss Jones (1973) and Radley Metzger’s The Private Afternoons of Pamela Mann (1974) and appeared in both straight and sodomite fuck flicks (he was even once photographed by gay S&M/BDSM photographer Robert Mapplethorpe), makes the dubious claim that he got out of porn because he felt that it was “degrading to women” and then he cries about how he had various sex partners that had too high of expectations for him in terms of virility because they had seen him in porn flicks. Notably, Stevens would get back into porn after the release of Not a Love Story and, according to his porn star ex-girlfriend Sandi Foxx, committed suicide via hanging in 1989 after contracting AIDS. Stevens sees things quite differently from a trashy chick named Patrice Lucas who is the daughter of a hooker and who stars in live sex shows with her black husband Rick Lucas, who claims that white businessmen would get turned on seeing a negro defile a small white girl, even encouraging him during his show by shouting things like, “fuck her...hurt her...get it.” Somewhat strangely (or maybe not so considering all the homos in hetero hardcore flicks), Lucas, like Stevens, seems fairly faggy.
In one of the most hilarious scenes of Not a Love Story, pudgy ogre-like Jewish radical feminist and prominent ‘yippie’ (Yiddish + hippie) Robin Morgan is interviewed while in the company of her preteen son, future musician Blake Morgan, and self-described “gay husband” Kenneth Pitchford, who is a founding member of the patently pathetic male feminist ‘Effeminist Movement.’ While spiritual eunuch Pitchford the bitch boy listens intently while sporting an exceedingly gay scarf, Morgan unleashes the following rant that reveals her decided disillusionment with the outcome of the sexual liberation that she endorsed: “When people speak of the quote ‘Sexual Revolution’ in the 60s or the 70s, I think what they mean is what Marcuse prophesied as ‘repressive tolerance’ and, that is, more and more proliferation of superficial sex, kinky sex, and appurtenances and toys and things to first benumb the sensuality…the normal human sensuality and then, once it is comatose, you need greater and greater stimuli to supposedly wake it into life, none of which has to do with the subtleties of eroticism, of love, of affection, of amiable communication.” Of course, one has to wonder how a woman married to a gay man experiences “normal human sensuality” and the “subtleties of eroticism, of love, of affection, of amiable communication,” but then again, Morgan is so manly that maybe she and her proudly effete husband sexually compliment one another. In what is easily the most absurd statement and flagrant flat-out lie made in the entire doc, Morgan claims that the first thing that the Nazis did upon invading Poland was flooding the country with pornography, thus underscoring her classic irrational Jewish victim mentality, as well as the innate role her Jewishness plays in her subversive politics. Later on in the documentary, Morgan declares that men should be actively shamed for indulging in porn and absurdly claims that she believes this because she “loves men so much.” Like the true born cuckold that he is, Pitchford comforts his wife Morgan while she literally cries about her hatred for porn.
Seemingly increasingly brainwashed by Klein’s anti-porn crusade, Linda Lee Tracey does an improvised anti-porn street sermon in front of a porn theater where she speaks of “nameless holes” and gets in an argument with a poor negro who claims she is “hurting other women” by “downing them” due to their careers in the sex industry. In what is probably the most glaring and shameless example of sensational and just plain stupid propaganda in the doc, Klein zooms in on the poorly drawn homemade swastika and SS tattoos on the hand of a porn patron in what is ultimately not the first but the second pathetic attempt in the film to somehow absurdly link pornography with National Socialism, as if the sex industry was not largely a Yiddish affair. In a rather incriminating scene where she unwittingly reveals that radical feminism is her own warped brand of religion, lesbo eco-feminist Susan Griffin declares that porn is the “opposite of religious worship” because it involves “desecration of the woman’s body.” Personally, as a man, I have to disagree, as I have met far too many fellows who have worshiped a woman they did not even know with more devotion than the average Sunday school patron or typical family man who goes to church on the weekend in a half-hearted attempt to atone for his porn addiction. In another one of the seemingly endless interviews with Hebraic intellectuals featured towards the end of Not a Love Story, Klein interviews a psychologist named Edward Donnerstein who argues about the desensitizing effects of porn and how it apparently portrays male-on-female rape as good yet male-on-male rape is portrayed as bad in films like John Boorman’s Deliverance (1972) in a scene featuring quite admittedly erotic footage of a woman performing fellatio on a handgun in the background. Of course, the thing that Donnerstein leaves out is that while most women seem to have rape fantasies and enjoy rough and violent sex from time to time (I say this not as a result of something I have read, but from personal experience), no man aside from the occasional queer masochist fantasizes about being anally pillaged. Towards the end of the doc, director Klein complains, “The research of the film exposed me to the worst of human existence and the kind of sadness that came from seeing the kind of pornography that I was seeing for the first time.” Personally, I found more of the “worst of human existence” in the Hebraic talking heads than the hardcore starlets.
Despite Not a Love Story concluding on a somewhat positive note where it seems like central subject Linda Lee Tracey has seen the error of her ways as a stripper and has fully embraced feminism, the stripper was actually so annoyed with the distorted and one-sided way director Bonnie Sherr Klein depicted her in the documentary that she decided to become not only a documentarian, but also reporter, writer, and producer herself, as she felt the need to portray the objective truth instead of titillating agitprop twaddle. Indeed, one also has to wonder what Klein was thinking when she decided to include a long close-up shot of Tracey’s pussy near the end of the film under the ostensible purpose of ‘documenting exploitation,’ as if the film is really just crypto-carpet-muncher porn disguised as an artsy farsty feminist political documentary as a work where estrogen-deprived feminists ultimately get to have their cunt and eat it too due to its combination of pornographic imagery and anti-male-mania. Admittedly, I agree with some of the points that were made in the doc, mainly that pornography desensitizes certain people, warps their view of sexuality, and incapacitates their ability to have normal sexual relationships. Indeed, I can think of a number of people I have known who got addicted to pornography before they ever even lost their virginity and I cannot even fathom the sort of fucked fetishes the younger generations that grew up with the internet have developed before they could even jerk off, but of course the deleterious effects of hardcore fuck flicks on human sexuality and relationships certainly pales in comparison to that of feminism and the sexual revolution, hence the proliferation of the porn industry in the first place as is discussed by one of the porn publishers in Klein's doc.
Brainwashed by post-Freudian kosher commie garbage like Wilhelm Reich's The Mass Psychology of Fascism (1933) and Marcuse's Eros and Civilization (1955) that argued using the same old Judeo-bolshevik scam of pitting the poor goyim against the rich goyim that the prole libido needed to be liberated by ‘repressive’ western civilization, Klein and her friends in the doc are the very same sort of people that fought to pave the way for the wanton world depicted in Not a Love Story, thus their criticisms seem conspicuously absurd and highly hypocritical. Notably, the film was made during the so-called “Porn Wars” aka “Feminist Sex Wars” of the late-1970s through early-1980s that hilariously destroyed the second-wave feminist movement when ‘anti-porn feminists’ like Klein and her comrades waged war against ‘sex-positive feminists’ after morbidly obese Judaic dyke Andrea ‘sex is rape’ Dworkin organized a protest in NYC in 1976 against the absolutely worthless exploitation flick Snuff (1976) co-directed by Michael and Roberta Findlay. While Klein mentions in Not a Love Story that the porn industry was partly mafia-run, she predictably does not dare to make reference to the fact that the porn industry is and always was a largely Judaic industry influenced just as much by monetary motivations as the desire to undermine the country's largely white Christian majority's morality, yet Hebraic radical feminist Robin Morgan actually has the chutzpah to make the patently preposterous projection that the Nazis spread pornography as a weapon in some pernicious Aryan master plan. Had Klein wanted to make something resembling a semi-objective documentary tackling the harmful aspects of porn, she should have interviewed intelligent members of her tribe involved in the porn industry like porn pioneer Al Goldstein and longtime veteran performers like Jamie Gillis and Annie Sprinkle, but instead she intentionally opted to interview poor and uneducated shiksa chicks that she could easily manipulate as well as depict in a degrading fashion that makes it seem like most women in the industry have no clue what they are doing and are being manipulated by misogynistic males who have malicious motives other than wanting to make tons of money, like using porn as a way to use “violence against women” or whatever. Either way, I can sleep comfortably knowing that Not a Love Story probably influenced more people to have sex and masturbate than adopt warped feminist views.
Posted by Soiled Sinema at 8:41 PM
Soiled Sinema 2007 - 2013. All rights reserved. Best viewed in Firefox and Chrome.