In early 1970, the Canadian film landscape saw a major clash between art, censorship, and public outrage when Vixen, Russ Meyer’s sexploitation satire, became a flashpoint at Cinema 2000, a Yonge Street theatre in Toronto. Known for its erotic content and satirical portrayal of a woman with a sexual appetite that knew no bounds, Vixen ignited debates over what should be deemed appropriate for public consumption.
Unlike traditional film screenings, Cinema 2000 aired movies on video monitors to sidestep the Ontario Censor Board, which was responsible for regulating content under Theatres Act. The move proved to be a double-edged sword. While it allowed the theatre to bypass censorship, it also exposed a loophole in the law. In March 1970, after several obscenity charges were levied against Cinema 2000’s owners, police halted a free screening of Vixen, forcing 200 people into the cold streets of Toronto.
The controversy surrounding the film led to debates in the Ontario provincial legislature. NDP MPP Stephen Lewis suggested abolishing the Censor Board altogether, highlighting the tension between traditional censorship practices and emerging technologies that weren’t covered by the law. At the time, Vixen was screening uncensored, unlike its counterpart, the Swedish film I Am Curious (Yellow), which had been trimmed by the censors.
Max Allen, who opened Cinema 2000 in 1969, recalls the impact of the film on both the public and legal systems. Despite the legal challenges, Vixen was a financial success, grossing over $84,000 during its run. In the end, after two trials, Allen and Cinema 2000 were acquitted, although the theatre was later found guilty of staging an indecent performance and fined.
The backlash from Vixen brought about significant changes in Canada’s censorship laws. In 1975, the Theatres Act was amended to include videotapes, a direct response to Cinema 2000’s workaround. By the early 1980s, adult-themed cinemas were widespread in Toronto, showing films that pushed the boundaries of sexual content. However, it wasn’t until 2019 that Ontario disbanded the Ontario Film Authority, citing the need for a more modern approach to content classification.
Today, films in Ontario are regulated under the Film Content Information Act, a self-regulated system that requires exhibitors to post content advisories, allowing audiences to make informed decisions about what they choose to watch. While Vixen‘s controversy might seem like a relic of the past, its legacy remains in the ongoing dialogue surrounding film censorship in Canada.
Russ Meyer’s work, including Vixen, remains significant not just for its content but for its influence on independent filmmaking. His films, now available in restored formats, are remembered for their bold style, rapid editing, and distinctive blend of sex and satire. They continue to resonate with modern audiences, offering a window into the cultural and legal battles of an era where film censorship was a matter of heated debate.
Source: Swifteradio.com
