Lovelace

An impressive cast lending their talents to a fascinating story, Lovelace brings Amanda Seyfried, Peter Sarsgaard, Sharon Stone, Robert Patrick, Chris Noth, Adam Brody, James Franco and Eric Roberts together to portray characters in the life of Linda Lovelace, a one-shot porn actress that made headlines back in 1972 as star of the blue movie, Deep Throat.

Amanda Seyfried plays Linda, a shy and fairly innocent young girl who falls for Chuck (Peter Sarsgaard) , a mostly manipulative manager/pimp that eventually becomes Linda's husband. Lovelace begins shortly before Linda meets Chuck and establishes Linda's home life with her parents (played by Robert Patrick and an unrecognizable Sharon Stone).

We first meet Chuck as he lays eyes on Linda at a roller skating rink where Linda does an impromptu dance in front of the live band. Chuck woos the younger Linda using his charm and the alluring freedom of his adult lifestyle to eventually bring Linda to a point where she moves out of her home.

The inexperienced Linda is comfortable enough to have Chuck film her giving him oral pleasure and Chuck takes his Super 8 home movie to Butchie Peraino and Gerry Damiano (Bobby Cannavale and Hank Azaria) who are so enthralled with Linda's oral sex talents that they immediately get producer Anthony Romano to provide the funds to make a film that will eventually become Deep Throat.

We get a few topless scenes of Seyfried emulating the famous porn star of the era and enjoying her fame until everything falls like a house of cards due to Chucks violent manner and his insistence that Linda have sex with multiple partners for the purposes of his own financial gain and notoriety.

The film takes us beyond the filming of Deep Throat and we watch as Linda copes with how the film put a strain on the relationship with her parents and through her book deal and talk show circuit appearances where she vehemently denounced pornography.

Laden with a talented cast, Lovelace fails to either have audiences find fault or fall in love with our title character. Everyone in the production come across as characters rather than actual people so it is hard for a viewing audience to attach themselves – good or bad – to any of the competent actors that make up the casting call.

Directors Rob Epstein and Jeffrey Friedman simply don't chisel away at the inner character or either Chuck or Linda with enough feeling to make this a well rounded bio-pic. Instead, it flat-lines with any pulse and does nothing more that attempt to be an exploitation flick about an exploitation flick. Even as the time is captured fairly well in the styles and moods of the early 70's, it ultimately fails in capturing much of anything else including our attention.

The final title cards might have been the most interesting revelations of the entire films. That Linda Lovelace died from injuries suffered in a car accident at age 53. That Chuck Traynor went on to marry another famous actress in the porn industry in his nuptials to Marilyn Chambers. And how the movie Deep Throat went on to become the most successful porn film of all-time raking in hundreds of millions while Linda collected less than $2,000 for her starring role.

If you have always been interested with the film Deep Throat or the incredible life of Linda Lovelace, you may want to seek out any of the documentaries or A&E specials on the topic. Because Lovelace will just leave you superficially satisfied.

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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.

It is debatable what differentiates a great film biography from the rest. Arguably, a great biopic embraces the complexities of a person's life while using storytelling to organize such intricacies. It makes the film's subject all the more intriguing.

Poor and mediocre biopics either become blatantly overwhelmed by a life's complications, or ignore them altogether. Unfortunately, "Lovelace" chooses to ignore, and consequently misses greatness.

The woman who was born Linda Susan Boreman, and would later be better known by her stage name, Linda Lovelace, lived a very complicated, and devastatingly sad, life. This film centers on the real life Lovelace's claims of being used and abused by her first husband, Chuck Traynor, and being browbeaten into the pornography industry.

Lovelace's allegations of spousal abuse have been disputed by some, and supported by others who knew her personally, but that's beside the point. The film was right in basing its narrative solely on Lovelace's side of the story, not getting bogged down by antipathetic discrepancies. Still, there were crucial parts of her life the movie should not have left out.

For instance, "Lovelace" strongly implies that "Deep Throat" was Lovelace's first pornographic film (untrue) and her last (also untrue). It doesn't mention a stag film in which she engages in bestiality with a dog.

In one of her four books (yes, she wrote four books), she claimed that Traynor forced her to act in such movies, which would have made a good case in this movie for how controlling Traynor was. After all, having sex with a dog, especially on camera, is not an action in which most would engage willingly.

I could go on about relevant moments of the real Lovelace's life that this movie chose to ignore. However, the primary faults of "Lovelace" lie not in what they left out, but in a questionable storytelling structure where the filmmakers obviously tried to be too clever in their narrative.

Basically, the first half of the film chronicles a 21-year-old, naive Linda Boreman (Amanda Seyfried) who lives with her strict, Catholic parents (Robert Patrick and a shockingly deglamorized, unrecognizable Sharon Stone) in Florida. A charismatic, 27-year-old Chuck Traynor (Peter Sarsgaard) spots Linda at a rollerskating rink and begins dating her.

While Traynor claims to own a bar and restaurant, young Linda doesn't realize he dabbles in prostitution until after they are married, and she bails him out of jail. Eventually, Traynor coerces her into performing sexual acts on complete strangers for money before taking her to audition for pornographic movies.

From here, the film chronicles the making of the notorious "Deep Throat", the rise of Linda Lovelace, and does more than hint at the unexpected cultural impact the film creates.

Halfway through, the film makes the mistake of jumping ahead six years later (I guess circa 1980), and showing a visibly disheveled Linda taking a lie detector test administered by a publisher (Eric Roberts) in order to assess the validity of her marital abuse claims in her new autobiography, "Ordeal". The film then jumps back 8 or 9 years to show many of the same scenes over again, except adding footage at the end of each scene actually showing Traynor physically and sexually abusing Linda.

Why go back and show these scenes? The lie detector scene would have made a good narrative framework, especially since you see Amanda Seyfried look so shockingly worn down. This is not the same doe- eyed, blonde hottie from "Mamma Mia" (2008), or at least it doesn't look like her.

The point is, though, that going back and retreading all the scenes feels like a waste of time. Considering the film's running time of 93 minutes, there is no excuse for retread, especially considering Sarah Jessica Parker's well-publicized cameo as Gloria Steinem was cut out of the film altogether.

However, casting was the film's main strength, which I initially thought would be its weakness. I had my doubts about Seyfried portraying Lovelace, considering that Seyfried is exceptionally gorgeous, and the real Linda Lovelace was (Is there any way to say this nicely?) not even close. Listing actresses in this review who bear a stronger resemblance to the doomed porn starlet would probably be insulting to them.

While Seyfried donned a shaggy brunette hairstyle and freckles to deglamorize herself, she still looked a lot prettier than Lovelace on her best day. Scenes such as low-level mobster Butchie Periano (Bobby Cannavale) arguing that she is not attractive enough for the porno he is financing appear consequently more dubious.

Still, Seyfried did well with what she was given. Her best scenes include the lie-detection test, a surprisingly touching moment with an unexpectedly cordial publicity photographer (Wes Bentley), and her begging her emotionally cold mother for asylum from her abusive husband. Another scene where she is raped by five men at Traynor's behest shows little, but is still hard to watch.

While Peter Sarsgaard is effectively charismatic as Chuck Traynor, he wasn't convincing enough during the abuse scenes. Every time he threw Seyfried around, his face looked as though he would apologize to her right after the directors yelled "Cut!".

Sharon Stone, as Dorothy Boreman, had the movie's best performance, and not just because she is indistinguishable from her more glamorous roles. The scene where she does anything but console a visibly frightened Seyfried makes her eerily believable, and surprisingly multifaceted.

While the performances were well done, and "Lovelace" successfully shied away from exploitation, it suffered from fractured storytelling, awkward editing, and the vague epilogue implying that Lovelace's life only improved before her untimely death in 2002 in a car crash. If you watch the insightful documentary "Inside Deep Throat" (2005), or read Joe Bob Briggs' excellent, astute retrospective on her life (http://old.nationalreview.com/comment/comment-briggs042502.asp), you'll get a far more accurate, and grimmer, account of her life after pornography. It's sad, dismal, and, as "Lovelace" proves, a story Hollywood still does not want to tell.

Directed by the team of Rob Epstein and Jeffrey Friedman, "Lovelace" is a short and not-so-sweet Hollywoodization of the real-life story of Linda Boreman, a.k.a. adult movie sensation Linda Lovelace. At 21 years old, she's living with her uptight parents (Robert Patrick and an unrecognizable Sharon Stone) when she meets charming stranger Chuck Traynor (Peter Sarsgaard). He's actually a pretty sleazy guy who finagles her into a job in porn films, specifically the landmark effort "Deep Throat". He also turns out to be an abusive monster, whose atrocities were recounted by Linda in her book "Ordeal".

With these Hollywood versions of such stories, it's always advisable to take them with a grain of salt. For one thing, even this viewer, who's not particularly knowledgeable about the adult film industry, knows full well that Linda did a fair bit more than just that one classic. "Lovelace" the movie actually leaves out some things to focus on limited story threads. The filmmakers try to be clever with their narrative by jumping back and forth in time, but this could only be confusing for some in the audience.

It's worth a look just to watch Epstein, Friedman, and company give us a look into the porn filmmaking scene in the 1970s. Time and place are well captured, but the soundtrack tends to get annoying; we don't need these constant reminders of when the story largely takes place. The film IS very slick, and makes its points in approximately an hour and a half, so it doesn't overstay its welcome.

The strength lies in the talents of the ensemble cast. Amanda Seyfried is appealing as the not-so-innocent but still endearing Linda, while Sarsgaard, no stranger to creepy roles, is convincing as the slime ball husband. Stone gives a creditable performance in a severely deglamourized role, and Adam Brody is a hoot as porn legend Harry Reems. James Franco is charisma-free and miscast as Hugh Hefner.

There is enough compelling material here for one to realize that a more in-depth recounting of the tale would be appreciated.

Six out of 10.

I attended Lovelace at Sundance not knowing too much about the story of Linda Lovelace. Linda Lovelace is the most famous pornography star of all time because of the film Deep Throat (1972) which became wildly popular with mainstream audiences and brought pornography into popular culture. More than an indictment of the pornography business, this film is an indictment and expose on spousal abuse. Linda married young and was sexually and physically abused by her husband throughout her marriage. She was forced into doing these films and acts. She eventually found the courage to leave her husband and wrote a tell-all which is what this movie is based on.

The way this story was structured keeps it interesting and revelatory, and tonally the film is in accordance with her life. Things start off happy and there are lots of funny moments but soon enough things take a turn for the worse and that is where the true drama ensues.

Amanda Seyfried may not seem like the right choice for the role but she handles herself and the material with ease. She does a fabulous job evoking a wide range of emotions and brings her performance to a previously unseen level (at least, from what I've seen of hers). Peter Sarsgaard naturally exudes kindness and charm, we are seduced by it as she is, yet when the time calls for it he is rightly overpowering and terrifying.

Directors Rob Epstein and Jeffrey Friedman started off making documentaries that were both important and compelling. They made the switch to traditional narrative films with Howl which showcased their talent but Lovelace is further proof that they are multi-talented and continuing to grow in skill.

The film does leave out a few things, most likely for the sake of the narrative, Linda was forced to participate in several short pornography loops before she appeared in Deep Throat, including a bestiality film. She also made two movies after Deep Throat (including Deep Throat II).

The film has instant notoriety for its connection to Deep Throat and hopefully this will drive a bigger audience to it but it will likely gain some controversy as well for its association (in fact there was a small group protesting it at the premiere which is utterly ridiculous). I hope this film gets a large audience as marital abuse in its many forms is far too common a problem and needs to be brought to the forefront of discussion.