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Chambers sought work in theater and dance groups in San Francisco to no avail. In 1972, she saw an advertisement in the San Francisco Chronicle for a casting call for what was billed as a "major motion picture".[17] She rushed to the audition only to find it was for a pornographic film, which was to be called Behind the Green Door. She was about to leave when producers Artie and Jim Mitchell noticed her resemblance to Cybill Shepherd. They invited her upstairs to their offices and told her the film's plot. Chambers was highly dubious about accepting a role in a pornographic film, fearing it might ruin her chances at breaking into the mainstream. But she was turned on by the fantasy of the story and decided to take a chance, under the condition that she receive a hefty salary and 10 percent of the film's gross. She also insisted that each actor get tested for venereal disease. The Mitchell Brothers balked at her request for a percentage of the film's profits, but finally agreed, realizing the film needed a wholesome blonde actress.[18]
Chambers was relatively unknown prior to Behind the Green Door; however, the film made her a star.[10][11] Green Door, along with Deep Throat, released the same year, and The Devil in Miss Jones, ushered in what is commonly known as the porno chic era. Critics have since debated whether she was really having orgasms in her scenes or just acting.
Following Behind the Green Door, the Mitchell Brothers and Chambers teamed up for Resurrection of Eve, released in September 1973. Although not the runaway blockbuster that Green Door was, Eve was a hit and a well-received entry into the porno chic market. It also helped set Chambers apart from her contemporaries Linda Lovelace and Georgina Spelvin as the wholesome, all-American girl next door. Following Eve, Chambers was anxious to transition her fame into other areas of entertainment. At the time, the Mitchell Brothers were still her managers. "They were always talking about some half-assed idea I knew wouldn't come off", Chambers said in 1992. "'Flakes' is a terrible word but they were, in a cute sort of way".[17] Chambers had always considered the brothers as her own brothers but when she abruptly announced that she was leaving them to take up with Chuck Traynor, they were appalled and had a falling out with Chambers.
In retaliation, the brothers created a documentary in 1976 called Inside Marilyn Chambers, which was composed of alternate shots and outtakes from Green Door and Eve, as well as interviews with some of her co-stars. This was done without Chambers's knowledge or approval but when she learned of it just prior to its release, she negotiated a deal that would offer her 10% of the gross as long as she would contribute interviews to the film and promote it nationally. "I hated the film and I still do", she said later. "It's supposed to be the story of my life, and it's not true. Jim and Art ripped me off. They felt I'd betrayed them... I felt they'd betrayed me, and for many years, we didn't speak. Only when money was to be made did we start talking again."[17] Chambers reunited with the Mitchell Brothers in 1979 for two 30-minute features called Beyond de Sade and Never a Tender Moment, which explored BDSM. The films, which were shot at the Mitchell Brothers Theatre, co-starred Erica Boyer.[22]
Chambers dreamed of having a career in mainstream films and believed her celebrity as the star of Behind the Green Door and the Ivory Snow girl would be a stepping stone to other endeavors. "The paradox was that, as a result of Green Door, Hollywood blackballed me," she said later. "[Green Door] became a very high-grossing film ... But, to a lot of people, it was still a dirty movie; for me to do anything else, as an actress, was totally out of the question. I became known as a porno star, and that type of labeling really hurt me. It hurt my chances of doing anything else".[8]
Throughout the 1970s, she was up for roles in several Hollywood films. Her biggest opportunity came in 1976 when it was announced in Variety that she was to star alongside Rip Torn in City Blues, a film about a young hooker defended by a seedy lawyer. The film was to be directed by Nicholas Ray. Ray had never seen Behind the Green Door or even screen-tested Chambers. Instead, the two met and Ray was impressed. "I have a camera in my head," he said, adding that Chambers would "eventually be able to handle anything that the young Katie Hepburn or Bette Davis could." However, the project never came to fruition, in large part due to Ray's alcohol and drug abuse. Ray died in 1979.[23]
Chambers won the starring role in film director David Cronenberg's low-budget Canadian movie, Rabid, which was released in 1977.[3] Cronenberg stated that he wanted to cast Sissy Spacek in the film lead, but the studio vetoed his choice because of her accent.[citation needed] The director says that the idea of casting Chambers came from producer Ivan Reitman, who had heard that Chambers was looking for a mainstream role. Reitman felt that it would be easier to market the film in different territories if the well-known porn star portrayed the main character. Cronenberg stated that Chambers put in a lot of hard work on the film and that he was impressed with her. Cronenberg further states he had not seen Behind the Green Door prior to casting her.[25]
In 1974, she starred in the dinner theater production of The Mind With the Dirty Man in Las Vegas and received favorable reviews for her work.[26] The play ran for 52 weeks which, at the time, was the longest-running play in Vegas history, and the mayor gave Chambers the key to the city.[17] In 1976, she starred in a short-lived musical revue off-Broadway called Le Bellybutton.[27] In 1977, she starred in Neil Simon's Last of the Red Hot Lovers in Vegas.[28] The one-woman show Sex Surrogate, in 1979, caused controversy in Las Vegas as it featured full-frontal nudity, which was banned from all major hotel casino showrooms.[29][30] In 1983, the play was spun off into a 26-part syndicated soap opera called Love Ya, Florence Nightingale. It was broadcast on cable television channels such as the Playboy Channel.[31][32]
Chambers had some chart success with the disco single "Benihana" in 1976, produced by Michael Zager on the Roulette Records label.[33] Billboard magazine said, "She... sings quite nicely in a sexy little voice in this catchy disco tribute to an oriental lover man."[34] The song is played in the background of one scene in the film Rabid. In Insatiable, she sang the theme song, "Shame On You," which plays over the opening credits. She did the same for the song, "Still Insatiable", which was used in her comeback in the 1999 adult film of the same name. She also sang vocals in the 1983 X-rated film, Up 'n' Coming, in which she plays a rising country music star. In the early 1980s, she was the lead singer of a country and western band called Haywire.[17]
Although she had tried for several years to shed her image as a porn star, Chambers returned to the adult film industry with 1980's Insatiable. In the film, she played actress, model, and heiress Sandra Chase, whose appetite for sex is, as the title suggests, insatiable. Sandra is getting ready to make a movie and her manager, played by Jessie St. James, is working on getting some big names to appear alongside Sandra. The story is told in a series of flashbacks which detail Sandra's sexual encounters.
Chambers left the pornography business because of the increasing fear of AIDS.[38] In 1999, Chambers returned to San Francisco to perform at the Mitchell Brothers' O'Farrell Theatre. Mayor Willie Brown proclaimed a "Marilyn Chambers Day" for her unique place in San Francisco history, and praised her for her "artistic presence", her "vision", and her "energy".[39] That same year Chambers returned to adult features with a trio of films made for VCA Pictures called Still Insatiable (1999), Dark Chambers (2000), and Edge Play (2000), each directed by Veronica Hart.
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