Cantara Christopher in Sadie (Bob Chinn director, Mitam Productions, 1980) as Indexed in the Database of the British Film Institute; and “Pictures of Lily” by Pete Townshend

This isn’t the picture of me at the BFI Database. It was sent to me by “John Fairfax”, who saw my posting on Twitter about my last feature film and my irritated comment about how I thought the British Film Institute had mixed me up with another (Asian, of course) actress. And the dear chap actually went through the grueling task (in the name of research, or course) of finding proof positive that the girl in the sarong in the other screenshot isn’t me, mostly because of the arms, hair, and height. And he sent it to me! So here I am in Sadie, a softcore version of Somerset Maugham’s story “Rain”, entertaining two men on the island, presumably Borneo. The bloke in the cap is my husband Doc, the only one on the island allowed to touch my goodies.

The Who and Pete Townshend’s love song to sex workers everywhere, “Pictures of Lily”.

This was not only my last feature, but the last film of any length (including loops, shorts etc) I did during my screen days in San Francisco, before I got pregnant and eloped with the father of my child to New York’s East Village.

Now, for years I’ve talked about my porn career like it was a lark — a daredevil stunt I pulled and lived to tell the tale. I certainly was never more physically beautiful than when I was in my early 20s, and really, I’ve got to tell you, it is a kick in the first flowering of old age to know that somewhere, somehow, even now yet still, someone is probably doing the stroke dance with one of your pictures. Because as long as a buck can be made from it, porn will never disappear.

Now here comes the freakin’ British Film Institute to spoil my fun. Now I have to consider myself a lousy but legitimate actress rather than a pretty good porn one? Do you Brits have to put a damper on everything?

© Cantara Christopher 2022

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