The Opening of Misty Beethoven
Sep 12th, 2009 by Domina Doll
The Opening of Misty Beethoven (1976)
Studio- VCA / Crescent Films
Director- Henry Paris / Radley Metzger
Cast- Constance Money, Jamie Gillis, Jacqueline Beaudant, Terri Hall, Ras Kean, Gloria Leonard
“The Opening of Misty Beethoven” is a Pygmalion porn-story of a pathetic prostitute (Constance Money ) who is transformed into a New York “socialite”—or more accurately an elite passionate cocksucker—by “sex researcher” hedonist Dr. Love (Jamie Gillis). If you have ever seen any of Jamie Gillis’ films he usually plays the part of a sexist (if loveable) pig quite well, and Misty Beethoven is no acceptation. Many of his roles are in bdsm films featuring him as a cruel Top who like to humiliate and beat his subs, but he is often on the submissive end as well.
The film is seriously dated and like many 70s triple-X films features a pornocopia of orgies in lavish settings, hairy snatches, kitschy dialogue, dreadful acting, bad hair-dos and worse outfits. Dr. Love teaches Misty how to suck cock like it’s her last meal, and there’s lots of other fucking as well as some girl-girl action. In one scene Dr. Love tells Misty: “Most women stop sucking at orgasm, but that’s when a real woman starts sucking.” The focus on the film is male pleasure and little is paid to want Misty (or a female audience for that matter) might want or enjoy.
Misty debuts as a fantastic pervert at a party orgy, where Dr. Love humiliates her in public by taking credit for her newly acquired skills. Misty gets fed up with Love and splits, but then returns to surprise suck/fuck him as one of his maids. Meanwhile, Love can’t forget about Misty and is perhaps wishing he had treated her better? The end of the film shows Misty transformed into the “teacher” and Dr. Love as her slave in chains of bondage in an “ironic” twist.
If you are into retro porn, The Opening of Misty Beethoven is a classic, more so for its “porn with plot” than titillating sex scenes, though.
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Tags: classic porn, film review, Jamie Gillis, review, The Opening of Misty Beethoven