Woodyanders Notorious 70's Golden Age adult cinema icon Linda Lovelace decides to run for president as the chosen candidate of the freshly formed Upright party. Directors Claudio Guzman and Arthur Marks fumble the ball when it comes to the utterly ramshackle narrative, but fortunately keep this infectiously asinine enterprise bouncing along at a constant breakneck pace and maintain a cheerfully puerile kitschy tone that's positively engaging in its unapologetic giddy inanity. The blithely crude script by Jack Margolis is rife with bawdy double entendres, offensive racial stereotypes, leering sexual innuendo, and groan-inducing below the belt jokes. Naturally, Lovelace disrobes with pleasing regularity and participates in a few raunchy simulated sex scenes. The game cast has a field day with the loopy material: Micky Dolenz as a clumsy myopic bus driver, Val Bisoglio as a raving lunatic preacher, Garry Goodrow as a crazy Nazi, Joey Forman as a kooky Chinese guy, Morgan Upton as a lecherous pedophile, and Chuck McCann as a bumbling hitman. Popping up in small roles are Art Metrano as a nutty sheik, Diane Lee Hart as a foxy harem girl, Scatman Crothers as a pool player, and Robbie Lee as a ditsy hillbilly hitchhiker. Although not much of an actress, Lovelace nonetheless has a bubbly and charming enough personality to keep this zany movie humming. A dippy hoot.

jaibo Deep Throat star Linda Lovelace's one attempt to get out of the porno ghetto and make a mainstream motion picture proves only that the British didn't have a monopoly on bad sex comedies during the 1970s. The premise is fair enough - a convention of all the non-mainstream political factions in the US (American Nazis, gay rights, vegetarians, black power etc.) decide that the only person who they can all agree on as their presidential candidate is, you guessed it, Linda Lovelace. She accepts the challenge (after proving herself to be mentally challenged enough to think that a preacher speaking over a loud-hailer is a call from destiny or God) and the party sets off on a cross-country campaign tour on two cheap buses with Linda Lovelace for President painted on the side.Most of the humour of the film concentrates on exploiting racial and sexual stereotypes: Chinese laundrymen, black hustlers, screaming queens and candy-handing-out perverts. There's an intriguing stream of cameos which suggest that America was still haunted by the images and characters Hollywood sold it in the 1930s (Tarzan, Dracula, W C Fields) but the idea isn't developed. Long episodes at a Southern racist rally (with Linda screwing below the stage), a farm full of Oakie inbreeds and a money grubbing church have promise, although only the last of these really fulfils anything, with its singing preacher prancing on a stage with dancing girls, coke adverts, money raising and rock gospel music (the amplified version of Let My People Go is pretty funky). There's a long and lame section in which an assassin, not very wittily named The Assassinator, stalks about a hotel corridor in search of his target, Linda (America still haunted by the Kennedy assassination), who failing here crops up a couple more times with some Wile E Coyote-type attempts to do away with her. It's staggeringly mismanaged comedy, with only the skills of the actor playing the Assassinator to save it from being complete dross.Linda Lovelace for President does at least capture some of the outré craziness of American diversity, and is a time-capsule (and perhaps the last nail in the coffin) of a time when people actually believed that sex could free and unite everyone. But it's all filmed and scripted with such heavy-handed incompetence that it never becomes the Hellzapoppin' of the Deep Throat (Watergate and porn) age it aspires to be. Linda, bless her, was no actress, although she looks a lot more attractive here than she does in her pornos.Worth seeing once. I watched it on election day 2008 and the joke whereby the Poles are desperate to get a Pole in the Whitehouse was pretty topical and a prediction of the identity politics to come and which perhaps reached its climax in the presidential candidacy of Obama.

Son_of_Mansfield With the better part of the decade conflict in Vietnam and the debacle that was Richard Nixon, trust in the government was low. It isn't a surprise that a farce like this came out. A committee of diverse stereotypes, angry black man, angry woman, cheery gay man, pious preacher, and a Nazi, come together and after rejecting many individuals, choose Linda Lovelace for president. Why? They say it's because she's a nice girl. Actually there never really is a reason other than it's funny, which seems to be the mantra of the movie. Just laugh, it's funny. Sometimes, it succeeds, like when two politicians haggle over what they'll conceal about each other's candidates. Linda Lovelace is a good gauge of this movie. She isn't allowed to perform her greatest talent, has her freckles covered by makeup, and is given a bunch of lame jokes to hint at the thing that she can't show us. The movie doesn't even have much respect for her and I don't think anybody could make some of these jokes work. It's not bad for a few laughs, but if you really want to see why Linda is revered, watch Deep Throat.

nunculus A country-looking, healthy-skinned, lithe and robust Linda Lovelace reads lines clunkily, but has a gentle, unpretentious charm in this Altman-derivative idjit jamboree, a sketch comedy about the state-of-the-art fellatrix's run for the Oval Office. (Yes, it IS oddly prescient!) In Lovelace's memoirs, the account of the making of this movie (directed, according to her, by old blaxploitation hand Arthur Marks) is hellacious; what's on the screen seems like a blend of HEE HAW and a Maoist-era Godard movie (in its cheapness and improvisatoriness, that is). I especially liked the young bohunk who married an orangutan and gave birth to a talking chimp who sounded somewhere between Minnie Pearl and Minnie Ripperton.