It’s not just that prohibitionists love having celebrities on their side. It’s not just that they keep accusing supporters of sex worker rights of “falling for the fantasy” of Pretty Woman. Prohibitionists are in love with Hollywood because, like the film industry, they prefer to package things in eye-catching tropes that doesn’t strain the brain.
Two films highlight the obsession with sex trafficking. The most recent is Eden, released in 2012 with Beau Bridges as a corrupt lawman in charge of a ring who kidnap underage girls and turn them into sex slaves for profit. Said to be “inspired” by the stories of Chong Kim – who claimed to be a survivor of trafficking, and was later found to be a fraud – the movie is filled with lurid and shocking imagery, from warehoused girls in undies to outright torture. The film’s narrative goes even more overboard than Kim’s own confabulations (which had also grown more sensational over time).
The “sex slave” trope was also used in the 1972 film Prime Cut, starring Lee Marvin as a mob enforcer sent by his boss to collect a debt from another boss (Gene Hackman) and rescuing one of several girls (Sissy Spacek) who are drugged and kept naked in cattle stalls for auction. Seeing it after Eden, one has to wonder if Prime Cut was even more of an inspiration than Chong Kim’s tales.
Prohibitionists also fixate on street prostitution and the pimps who supposedly seduce runaway teens into the trade – the central theme to the 1985 movie Streetwalkin’ with Melissa Leo as Cookie and Dale Midkiff as her abusive pimp/boyfriend Duke. This film is so laughable in its cheesy portrayals, I almost imagine Melissa Farley or Donna Hughes “consulting” on the set.
Perhaps the most iconic image of prostitution would be that of Iris in Taxi Driver, played by Jodie Foster opposite Robert De Niro’s Travis Bickle. Iris become a fixture of fascination and pity for Bickle, who later goes to the brothel where Iris work and unleashes his violent rage against the pimp and other nefarious fellows. Forget that, throughout the film, we’ve been witness to Bickle’s disturbing descent. Forget that his attack came after a failed attempt to assassinate a Presidential candidate. Bickle took down the bad guys, and helped Iris get back home, so now he’s a hero – a fantasy that now feeds the contemporary “anti-trafficking” movement.
Hollywood is fueled by fantasy. Even when it draws from real life, the writers and directors and actors tend to distill it into a more sensational – and saleable – version. The problem, however, is not with Hollywood’s selling of fantasy. It is when certain viewers are unable to distinguish the fantasy from fact, and even present fantasy as fact. Unfortunately, that is what many prohibitionists are doing, such as when two Seattle organizations held a screening of Eden in May 2013, followed by a panel of “anti-trafficking experts” leading a discussion. When a movement uses a fictional film based on fraudulent claims as though it were a documentary, you have to wonder just how credible they are.
Of course, this doesn’t mean every film about prostitution is unreal. Lizzie Borden’s 1986 movie Working Girls has been hailed as a more realistic portrayal that shows sex work as a job – alternately tedious and humorous like any other, and neither glamorous nor pitiful. Borden was able to do this by actually listening to sex workers about their lives. It’s too bad that Swanee Hunt and other prohibitionists seem unwilling to do the same.