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FBI Tried to Swallow 'Deep Throat'

According to files recently released to the Associated Press under the Freedom of Information Act, the Federal Bureau of Investigation (FBI) conducted a massive and desperate campaign to suppress the landmark 1972 pornographic film Deep Throat. In an attempt to hamper the burgeoning sexual revolution and the rise of pornography, the FBI repeatedly tried to stop screenings of the film and gathered evidence for the myriad obscenity trials that continued for years. Agents from most major FBI field offices around the U.S. seized copies of the film, confiscated and analyzed negatives, and interviewed just about everyone involved in the film, including actors, producers, and even the people who delivered the film reels to theaters. The files also contain correspondence about the campaign between the top bureau administrators, indicating both the breadth and level of priority dedicated to what would prove to be a vain effort. The correspondence shows that William Mark Felt, the Bureau's Associate Director and second in command, was regularly briefed on the investigations. Felt became known as "Deep Throat" for his role in leaking information about corruption in the Nixon administration to Washington Post reporter Bob Woodward, resulting in the Watergate scandal and ultimately Nixon's resignation.  "Today we can't imagine authorities at any level of government – local, state or federal – being involved in obscenity prosecutions of this kind," said Mark Weiner, a constitutional law professor and legal historian at Rutgers-Newark School of Law. "The story of Deep Throat is the story of the last gasp of the forces lined up against the cultural and sexual revolution and it is the advent of the entry of pornography into the mainstream." The files released this month constitute only a fraction of the total paperwork generated by the investigation, which includes a 4,800-page file on the film's director Gerard Damiano.

With the tagline "How far does a girl have to go to untangle her tingle," the 61-minute Deep Throat, starring Linda Lovelace (who would later claim that she was forced to do), was meant to be both titillating and funny. It was one of the first pornographic films to feature a plot, character development, and high production values. The film follows the exploits of a sexually frustrated woman in her quest to achieve an orgasm. After a visit to a doctor, it's discovered that (remember it's also supposed to be a comedy) Linda's clitoris is actually located in her throat, which leads her to develop and perform a particular style of fellatio that now takes its name from the film. Made with an initial investment of $25,000 (allegedly from an organized crime syndicate), the film has grossed as much as $600 million since its initial release. It also became pop-cultural phenomenon, dubbed "porno chic," with both high-profile celebrities and mainstream Americans clamoring to see the X-rated romp. Deep Throat marked the end of an era in American life and culture that the FBI was earnestly but futilely trying to preserve. Eugene Volokh, a law professor at UCLA, said of the scope of the FBI's investigation, "Certainly today, with our broadly socially less restrictive attitude to most pornography and to sex more broadly it may seem odd that the government was spending so much effort on something like this. But attitudes back then were much different." Not so different, however, to allow the FBI to put a gag on Deep Throat, no matter how hard it may have been to swallow. Given how much debate we still have over issues of sexuality and pornography nearly 40 years after the film's release, it seems that Americans are still trying to untangle their tingle.

[Editor's Note: A play entitled The Deep Throat Sex Scandal by David Bertolino premieres off-Broadway at the HA! Theater in New York City on August 31. The cast has not yet been announced.]

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Deep Throat & Johnson and Wales University

The film was made about ten blocks from my house, filmed in the old Vagabond Motel on Biscayne Blvd. in North Miami. It's now a dorm for Johnson and Wales University. Unsuspecting students now sleep in that very room where the filming took place. Linda started out workingh as a barmaid but North Miami's old maid city thought it was disgusting that she wore a fringed leather vest, flashing her nipples and the police were always hassling the patrons. The bar closed and the film got made. A good friend of mine rented their house for that summer, but we didn't know about the film they were making. He got cheap rent in exchange for keeping her big red dog for the summer. Yars later Linda always denied making a porno flick with a big red dog but I saw some out takes another friend got from the film lab. There was the big red dog with Linda! There's not much of a film industry left in North Miami these days, just TV commercial. Miami Vice was about the end of it.

Linda Lovelace's "accusation"

Linda Lovelace does not claim she was forced to make this movie, she says she was forced to make this movie. Her castmates have corroborated her account of what happened, but did not intervene because of the general prejudice against battered women. You know, the old myth that she would leave the abuse if she wanted to (so since her husband is currently punching in the face it’s because she is permitting him to do so, and you don't have to do anything about it, how convenient.) Her husband was seen beating her on the set, and forcing her to perform for the cameras with a gun pointed at her. Her castmates just didn't want to get involved because it was, supposedly, part of their marriage. It can take years of therapy to undo the brainwashing that often comes along with domestic violence. It isn't surprising that she made this claim relatively late. Perpetuating the implied problems with her credibility, even if she did appear to be a freewheeling porn star at the time, perpetuates the myth that domestic violence only happens with the victim's permission.

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June 22nd, 2009
Tim McElreavy's picture

Tim McElreavy is the Managing Editor of CarnalNation. He has been a writer, editor, and communications manager for nearly twenty years. He holds a master's degree in art and art history from Tufts University and did additional graduate work in modern and contemporary art at Stanford University. He is adept at herding cats, big black dogs, writers, and recovering engineers. His other favorite play thing is language.