NYC Starlets – Part 4: Jennifer Jordan, “Just Don’t Call It Porn!” – Act Two

Jennifer Jordan was a striking performer in adult films in the 1970s – and one who could really act. She was highly valued by directors like Joe Sarno, Roberta Findlay, and Henri Pachard, who appreciated her ability to portray a character rather than just be another warm body in a sex scene.

In the first part of her story, Jennifer spoke about her beginnings in theater in Ohio, before a trip to Hawaii led her to appearing in the TV series Kojak. She decided to become a full time actor, and after a spell at Kent State University, where she lived through the trauma of the landmark campus shootings, she ended up at La MaMa in New York. After several years struggling as an actor – appearing in commercials, as an extra in motion pictures, and in off-off Broadway productions – she made the decision to appear in adult films.

She immediately stood out – in movies such as The Fireworks Woman (1975), The Big Con (1975), Anyone But My Husband (1975), and Abigail Lesley is Back in Town (1975) – and worked with future Hollywood stars like Wes Craven and Sean Cunningham.

This is the concluding part of the story, which included her role in The Naughty Victorians (1976), the Patty Heart parody ‘Patty’, Saturday Night Live, Roberta Findlay, the time when Woody Allen’s film crew made a porn film, working with John Holmes and Tony Perez, and what happened when she left the adult film industry.

For the first part, see here.

With thanks to Jon and Vinny Leary.

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6.     The Naughty Victorians

How do you remember hearing about ‘The Naughty Victorians’ (1976)?

I don’t really know. I just remember, at that time, I was so busy that the phone would ring, I’d get offered something, and off I’d go.

How did you prepare for your role in ‘The Naughty Victorians’?

I was friends with a writer for the New York Times and Wall Street Journal named Patrick Pacheco. I told him about the part that I’d been offered, and he loved the idea. He took me to meet Hermione Gingold: she was a grande dame of the theater world, a legendary English actress, born in the 1800s, and still appearing on stage in New York in the 1970s! She became known to the younger generation because of ads she did for Coca Goya Colada.

She was a caustic, sarcastic character, and I was a big fan. I told Hermione that I was going to base my characterization on her.

Hermione Gingold

How did she react?

She was irate!

Why?

I think she hated the idea that someone was playing her role. She would have loved to play the part herself!

Did you tell her that it was an explicit film?

No, I didn’t say anything. She just didn’t want to be thought of as someone that a younger, attractive woman would pattern herself after.

Where was ‘The Naughty Victorians’ shot?

Down in Tribeca in a pre-war loft apartment. White St, I believe. High ceilings, big chandeliers, crown moldings, very pretty. I don’t know who had the connection with the owners, but that place was used in other films as well.

All the shooting seemed to take place at night. God knows why. I remember that one of the producers, (Robert) Sickinger or (John) Butterworth, blacked out the windows so it was a dark, claustrophobic set.

Because of that, I don’t think I really did justice to the part. Number one, I’m a morning person, always have been. And if we were shooting at 9pm, 10pm, or midnight, I wouldn’t have been at my best. Besides, people don’t look as good either then, and they’re kind of sluggish after dinner and stuff. I think that’s what happened with that film.

The Naughty Victorians (1976)

Did you know any of the other actors involved?

Yes, Susan Sloan had been a friend of mine for a few years before the shoot. She was a nice Jewish girl from Long Island. It was kinda weird working with her in the film because we’d known each other for a while.

How did you know her?

Through a nightclub act, singing and stuff. And I think I brought her to some of the parties I was involved with.

What were those?

I knew some wealthy guys, mostly gay, who loved cabaret. They put on shows in their lofts every month. I helped find singers and comediennes to perform. That’s when I met Liz Torres, who married Peter Locke who I worked with on The Fireworks Woman (1975). She did some shows.

Susan was another I introduced to these wealthy gay guys. And they liked her. She was kind of a Bette Midler type briefly, held in regard for a season or two. I found out later that she also did a double act with the actor Beerbohn Tree who was in ‘The Naughty Victorians’ too. That’s how we were friends.

And then I never saw her again after that. [laughter]

Susan Sloane in ‘The Naughty Victorians’

I contacted Susan a few years ago. I said, “I wanted to speak to you about your time in New York.” She said, “Oh, great.” So I said, “I’m friendly with Beerbohn Tree and Jennifer Jordan” – using your real names, and I mentioned a few other people. And she said, “Oh, yeah. Oh, I love them.” I asked, “Can we talk about the films that you made?” And she said, “No, I never made any films in New York.”

Oh yeah. She would deny it. Sure. [laughter]

She was sweet, but even if you’d met her on one of these sets in the 1970s, she still would’ve denied it was her [laughs].

Do you remember enjoying ‘The Naughty Victorians’ experience?

I remember enjoying working with Keith, who was Beerbohn, this English bloke who was quite nice. But I had very little to do with him. I remember just hanging forever from damn things.

With Beerbohn Tree, ‘The Naughty Victorians’ (1976)

The chains hanging from the ceiling?

Yes, it felt like I was hanging from the ceiling for half my life [laughter] with people behind me doing strange things. I didn’t know what the hell was going on. I’ve never been into bondage and domination in my private life, so I didn’t get it. As a result, I didn’t much care for the film.

Plus the shoot was never-ending.

What do you remember about the director, Bob Sickinger?

I didn’t like him, and he didn’t like me as far as I recall [laughter]. I thought he was overblown. He probably thought the same of me. He seemed to have quite an attitude.

When you took us all out recently, he seemed to have mellowed, and we had a perfectly pleasant evening. It was strange meeting up with him again.

What about the lavish costumes?

That part was fun. I have pictures of myself wandering around Soho in the outfits I wore. I remember a green lawn gown with a big hat and boas and all that kind of stuff. There were a lot of big hats and boas.

The Naughty Victorians (1976)

Can you remember how much you got paid for the film?

I can’t, no! I tried very hard to get points on the deal, but they just gave me a day rate.

There were rumors that actors weren’t actually paid for their performance in ‘The Naughty Victorians’ because there was some conflict between the director and the producer, and the money wasn’t forthcoming at the end. Do you remember that?

No, I had no problem getting my money. You kidding me!? I would’ve been out of the door if I didn’t get paid. I don’t act well if the green doesn’t cross the palm, let’s put it that way.

Upfront and in cash. That’s what I demanded.

Didn’t the film have a big premiere?

Yes, it did, with Klieg lights, red carpet. It seemed like all the major newspapers were there too, which was unusual.

What was it like going to see a big premiere of a film in which you are one of the stars?

I was embarrassed actually, and when the lights came up and people were applauding, I couldn’t wait to sneak out of the theater and leave. Which is exactly what I did. I got a cab and got the hell out of the Upper East Side where it was opening.

The Naughty Victorians (1976)

What do you remember about the press coverage?

I know the New York Times wrote about it. I’m not sure why. I guess because the film tried to come out of the genre. I don’t think they liked it. It was too preposterous for them, I guess.

After that, I went to Los Angeles over the winter, and when I came back, I found I’d been in Playboy because of ‘The Naughty Victorians.’

What was your reaction to seeing pictures of ‘The Naughty Victorians’ in Playboy?

I wasn’t really thrilled but I thought it was kind of funny too. I didn’t think I looked that good. [laughter]

Well, your role was that of an elderly snooty character.

Yeah. But, you know, [laughter] considering I was under 30 at the time, I mean… [laughter]

With all the press coverage that the film got, did any different acting opportunities arise?

Sure. I got several agents in Hollywood calling me in my village apartment. All because of this movie. This woman called me and said, “You’re a really great actress. We want you to come to Hollywood right now. Do not pass ‘Go’, and we’ll represent you and put you in the Billy Jack franchise.” That was huge at the time.

So I went out to L.A. When I got there, the woman who had called me had been fired and so nothing came of it.

Can you remember the last time you saw The Naughty Victorians?

It was probably at that premiere screening. I think I only saw it once.

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7.     More Adult Films

Another film that made a big splash was Patty (1976), which dealt with the Patty Hearst kidnapping case.

That had even more publicity than ‘The Naughty Victorians’! When it was released, there were photo features in magazines, I made personal appearances, and I had a cameo on Saturday Night Live’ with Peter Boyle.

How did the SNL gig come along?

‘Patty’ came out during their first season, and they had a skit about Patty. They saw my film was all over the place, so they got in touch and I went down and spent the day with them.

Were you invited because the Patty Hearst case was so topical, or because the film’s producer had a great publicist?

I think it was because I looked so similar to Patty Hearst!

I really don’t know what it was. It wasn’t even that topical – the film came out two years after her kidnapping.

With all the publicity and hoopla, I thought, “I have to get a break in my career because of this….” So I used my SAG name on that film.

But you still struggled with getting substantial mainstream acting parts.

Yes, and it was really irritating to me [laughter].

I still worked as an extra in big films – like ‘Deadly Hero’ (1976) with James Earl Jones – but most of the time, I was rejected for film work because of the sex stuff I’d been doing.

Jennifer Jordan in ‘Deadly Hero’ (1976)

What would an example of work where you were rejected?

Soap operas, for a start! They were hugely popular, they provided regular work to New York actors like me, and they paid very well. Initially I was reluctant to do them because I wanted to stretch myself more as an actor, but I auditioned for them anyway.

What happened when you auditioned?

If you wanted work on a soap, you had to sign your life away and so you had to tell them all your history. So I’d be honest with these straight directors. They’d be really welcoming to me… until I said, “I just did blah, blah.”

And then they’d say, “Really? Ok, sorry. Bye.” [laughter].

As soon as they found out about the sex films, the offer was withdrawn. Just because I’d appeared undressed or whatever! I was out. Gone. Buried. They didn’t want to know… It didn’t matter how good I was.

That’s frustrating.

Frustrating?! Of course, it fucking was! What irritated me was the stigma. And that stigma seemed to just attach itself to women if you’d acted in any of these films. It was outrageous. I knew so many men… like Sonny Landham, Jamie Gillis, and directors like Wes Craven, Sean Cunningham, or producers like Peter Locke, crew members like Barry Sonnenfeld… These guys got mainstream work! Some of them had huge careers!

But the women… nothing. Forget about it. Once we made an adult film, we never got a fucking look in.

I was doing every type of work in theater and film I could find. Some of the other women were doing the same. That’s why it was hard to accept what happened to us, it wasn’t fair.

Sonny Landham even ran for Governor of Kentucky! Needless to say, he was a Republican…

Yes, he also ran as a Libertarian for the U.S. Senate seat that was held by Mitch McConnell.

Really? [laughs] I know that the last time I saw him, he said he was going into stunt work. He was hired with the actor James Remar on every James Remar movie as the stunt guy. [laughter]

Then he started getting starring roles in action movies himself. I turned on the TV the other day. There was Sonny in ‘Predator’ (1987) in all his glory with Arnold Schwarzenegger. I couldn’t bloody believe it. I looked at him and said, “Holy God.”

That was what the men could look forward to. But not the women.

So it was back to doing adult film work?

Yes, but I did more than just acting. I had the option of waiting tables, but instead, I did crew work. I went behind the camera and learned how to do everything else, from catering right up to producing – and everything in between. I did camerawork, costumes, props, you name it.

I learned the film business inside out: I was a P.A. on thousands of commercials and films, I did props, costumes, and food, I was a location scout. It was possible in those days because I was allowed to do independent NABET jobs until IATSE took over.

We were all doing as many films as we could so that we could learn, and become more useful, and make money to support ourselves, and survive!

What were some films that you worked on as a crew member?

Let’s see. I remember I was Assistant Director on Invasion of the Love Drones (1977) and Cherry Hill High (1977) for example.

You worked a lot with Roberta Findlay over the years.

Oh Roberta. What a strange fucking woman she was. She and Walter (Sear) made a bizarre team. Both of them looked like they hated making these films and wished they were filming something more respectable, but for some reason they were drawn back to them, time and again.

You acted in more of Roberta’s productions than any other director. Films like Angel Number 9 (1974), Anyone But My Husband (1975), ‘Sweet Punkin’ I Love You… (1976), A Woman’s Torment (1977), The New York City Woman (1977) and others.

I had a love/hate relationship with her. She hated women. All women. But I wasn’t a typical woman. I didn’t have girlfriends either. I preferred to hang out with the boys and do my share of the physical work, so she tolerated me. And she often needed me to play a role in one of her films that no one else could play, so she had to play nice with me.

Having said that, she wasn’t terrible to work for. It was always entertaining to see what ridiculous scenario she had come up with.

A Woman’s Torment (1977)

For example, on ‘’Sweet Punkin’ I Love You….’ you had a scene with John Holmes and Tony Perez, two of the most-endowed performers of the day.

Ugh, those two guys. All cock and no brain. John was ok, if you could put up with his coke habit. But Tony was bordering on the mentally retarded. Seriously [laughs]

Did you ever learn anything about his background?

The story we heard was that he frequented a brothel owned by one of Roberta’s co-producers. The working girls complained about Tony. Or rather about his size. When this owner guy heard about their tales of pain, a light bulb went off in his head. And next thing, Tony Perez was on our film set. He couldn’t act, he couldn’t speak English, he couldn’t do anything really. But he was hung like a fucking freakish donkey.

Did I have sex with him? I certainly don’t remember that. I probably drank extra that day.

Sweet Punkin – I Love You… (1976), with (l-r) Tony Perez, John Holmes, and Crystal Sync

Roberta must have liked you, as she recommended you for work with others too. People like Cecil Howard and Chuck Vincent.

Maybe that’s true. I did a sort of adult film documentary, ‘Candidly Revealed’ [aka Acting Out (1978)]. Roberta Findlay was second camera on that. She recommended me. They called me up and said, “Quick, you have to come and audition right now.”

I heard that it was some big shots making the movie, so I accepted straight away. I was working at an AV house with my mother-in-law at the time putting together industrial films. So I went home, changed, ran to the audition, got the part, and then I ran to location – which was at a mansion in Jersey.

Who were the big shots behind the movie?

There were two guys in charge: one of them had the money, that was Carl Gurevich, who was the son of a big name in the Democratic Party. His mother was the president or the chairman of the Party for many years. The other guy was an editor named Ralph Rosenblum who edited all the Woody Allen hits, like ‘Annie Hall’ (1977), ‘Sleeper’ (1973) and ‘Bananas’ (1971).

Somehow, they had a lot of money to throw around, and they assembled a number of the crew members who worked on Woody Allen’s films every year. For this film, they all mostly used different names and seemed tickled to be working such a different type of film for a change. Everyone said it was going to be a big crossover hit… but it disappeared pretty quickly.

I haven’t seen it but I imagine it’s pretty well made given the talent behind the camera.

You’d been very active in the early years, but after ‘Acting Out’, you seemed to pull back, only working two or three more times in adult films.

I’d learned as much as I could in these low budget movies, and I wanted to do other things, like start a family. I still tried out for acting parts. In fact, I did a lot of work for John Anderson who stood for President as an Independent in 1980. He told me I was the first woman to do a voice-over for a Presidential candidate. I don’t know if that was true.

The only other work I did was for Roberta. She kept calling me, pleading with me to do one-off work in her films. I think Beach House (1980) and The Tiffany Minx (1981) were a couple I did. And it was her who asked me to be in The Budding of Brie (1980) for Ron Sullivan. But that was about it.

The Budding of Brie (1980)

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8.     What Happened Next

What was your catalyst for leaving the adult film work?

My husband, Richard, was a chef and he wanted to move out of New York, so that had a lot to do with it.

I do remember people like Roberta still calling me to offer me acting parts. No sex this time, just because they wanted me to be a featured actor. I turned her down. She’d already made her pound of flesh off me. My pound of flesh was my ass on the screen! Everybody had made good money but me, and it got to be irritating.

What did you do after you left the business?

I’m one of those persons that has to have everything in life: relationships, acting career, all that sort of thing. And I found I was good at all kinds of things.

In 1980, we went to live in Austin and Georgetown for a couple of years, where my son, Jonathon, was born. Jon was my finest production!

With Richard and Jon

Did you seek acting work in Texas?

Yeah, I still loved being an actress. I studied with Mona Lee Fultz, a legendary acting coach who’s appeared in many films and theater productions. She’s in all those Richard Linklater films that he shot in Texas like ‘Dazed and Confused.’

I starred in a play at the Capitol Theater in Austin, made many local commercials, and I had a small part in ‘The Best Little Whorehouse in Texas’ (1982).

Texas theater must have been a change from adult films in New York?

It’s all acting, dahhhling! That’s what I’m trying to tell you! You’re not listening. I was acting all the time. Theater, film, commercials whatever. That wasn’t relevant. And I didn’t do pornography!

Alright, alright. I get it. I do. Where did you go after Texas?

We spent some time back in New York doing TV documentaries and commercials. Richard became a cook at Rick’s Lounge on the corner of 195th and 8th Ave which introduced upscale Mexican food to New York. Then he worked at another high-end restaurant, but suffered an injury carrying a 50-pound bag of cornmeal, and lost his job.

We found that New York had changed and had become more dangerous. One day, Jon found a vial of crack cocaine and brought it home, and so we decided we needed to move away from the city.

In 1987, we went to live in Vermont.

I found all sorts of records relating to your film and theater work in Vermont.

I’m not surprised: I did a lot there!

I starred in a touring production of a John Patrick Shanley play called ‘Savage in Limbo’. It was great and I loved it. There was never a better writer for actors as far as I’m concerned.

Then I produced commercials and industrials for companies like Exit Films, Duracell Productions, Slide Systems. And I did productions at the Phantom Theater in Warren, Vermont.

Did your adult film career ever cross into this new life?

Never, my films hadn’t come out on VHS, and DVDs hadn’t been invented, so no one ever asked about them.

Was Richard still working as a chef?

Yes, he worked for the Warren Store in Vermont at first and he made pizza every Friday night. It was so popular that in the late 1980s, we started our own restaurant, Richard’s Special Vermont Pizza… RSVP!

What was special about your pizza?

We invented quilted pizza. Different parts of the quilt had different flavors. People loved it.

What was your restaurant like?

It was in Waitsfield, and we gave it a 1950s décor with Sinatra music playing.

And it was successful?

Not only the restaurant, but we also struck a deal with Zabar’s in New York to provide them with 500 pizzas a week. We wanted to be the Ben and Jerry’s of pizza.

That’s a rapid expansion.

Yes, we planned a production factory to deal with the demand, and started to expand into the mail order business to sell gourmet products like sausages, pate, jams, and cookies.

So what happened?

It was too much, too quickly, and we didn’t make it. Some bad business decisions. We had several great years, but it didn’t work out. My relationship with Richard ended too, so I returned to New York with my son.

What did you intend to do in New York?

I still wanted to act, but I knew I could find work in the catering industry because of my experience in Vermont.

Then I heard that Wes Craven was in New York directing ‘Music of the Heart’ (1999), a film with Meryl Streep. So I went on to the set to say hi to him. We’d kept in touch for a few years after ‘The Fireworks Woman’ and I was excited to catch up with him – and to see if he had a job for me.

What was his reaction when you brought it up?

He was embarrassed. He said he couldn’t give me a job, even though I desperately needed one.

I said, “Well, goddamn it, you don’t have to put me on camera, but just put me on the crew.”

He was nervous about even talking with me. He had completely buried any notion of himself in any X-rated film as an actor, which he did, or directing, which he did.

Did that signal an end to your acting career?

Pretty much. I became a catering manager for different companies, and then I set up my own business doing corporate entertainment. My first client was the Hammerstein Ballroom, and then I did events for political groups – all Democrat, thank God. Guys like Howard Dean and Elliott Spitzer.

With U.S Presidential candidate, Howard Dean

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9.     Aftermath

Did you find it difficult at all to talk about the adult films from many years ago when I first contacted you?

Yeah, of course. It was a long time ago, [laughter] 40, 50 years ago! But, you know, nowadays I’m starting to remember more. [laughter] It’s kind of fun actually.

Do you ever actually sit down and take out a DVD and put it on and watch one of your old films?

You know, I really should. Some people have given me a lot of stuff and I should look at it.

I actually did look at a couple of the Joe Sarno things, but mainly because I wanted to see Jamie!

I liked the ones that I worked on that took a lot of time, like ‘The Bite’ and ‘The Fireworks Woman.’

Did you ever think of yourself as being a star in these films?

No….! Of course not! I never thought anyone would see them.

So you were never recognized in the streets?

Once actually. I was out shopping in Chelsea with Richard in the 1970s, just around the corner from where we lived. We were in a little antique store, and some women rushed over and said, “Can we have your autograph? We saw you last night in the movie in a drive-in in New Jersey.” It turned out they’d seen one of Joe Sarno’s movies.

What was your reaction?

Mortified! I hated it! [laughter] I thought, if this is what it’s like to be famous, I don’t want any part of it. [laughter] I never liked the idea of that side of stardom. Luckily, I didn’t have to deal with that problem much! [laughter].

What have you been doing in recent years?

I’ve been reconnected with my birth family a few years ago, and met my birth mother. Crazy, good-time woman. I can see where I got it from. It turns out that I have a crazy Cajun half-brother too.

I take care of my partner, Walter, and help out my son whenever I can.

I’d still love to do some acting if you ever hear of anything.

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Over the years, I continued to meet with Jennifer Jordan, and our conversations moved away from her film career and into other subject areas, such as politics and culture. She was always opinionated, often outraged, and still outrageous.

Then she told me she was moving to Puerto Vallarta, Mexico, to live with her son, Jon, suggesting that she had some health issues that would benefit from being closer to family and living in a warmer climate.

Occasionally I would receive late-night emails from her that made little sense, full of spelling mistakes and difficult to decipher. From time to time, I received voicemails too, all slurred and hazy. I regret to say that I assumed they were the result of one too many drinks being consumed, so I smiled each time and paid scant attention to them.

In March 2022, I learned the truth. She had been suffering from Progressive Supranuclear Palsy (PSP), a rare brain condition that affects body movements such as hand-to-eye coordination, walking, balance, and eye function. She had just passed away.

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