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Constance Money
Constance Money
Constance Money
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Constance Money (born Susan Jensen; November 30, 1956)[3] is an American former adult film actress. She played the lead role of Misty Beethoven in the 1976 adult classic The Opening of Misty Beethoven.

Key Information

Early life and education

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Susan Jensen[1][4][5] was born in Kenmore, Washington, where she was a cheerleader and acted at Inglemoor High School; she studied psychology and sociology at Mills College in Oakland, California.[1]

Adult film career

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After first appearing in pornographic films while in college, under the name Jennifer Baker,[1][2] as Constance Money she played the lead role of the lowly Parisian prostitute reshaped by a sexologist to reach the top tier of her profession in Henry Paris (Radley Metzger)'s 1976 pornographic parody of Shaw's Pygmalion, The Opening of Misty Beethoven.[5][6] She later said in an interview that she had expected it to be an R-rated movie and that the film reflected her actual sexual education during production: "Misty is a good movie because it is real."[7]

Following the film's success, she made several appearances as a porn star, including stays at the Playboy Mansion, and appeared in Playboy magazine in July 1977 in a photo feature on "The New Girls of Porn"[2] and a 1978 personal photo spread, titled "Call of the Wild", which portrayed her as leading a double life starring in adult films and running a hostelry in a remote part of Alaska.[1] Her subsequent appearances include Mary! Mary! and Obsessed (both 1977), and Taste of Money (1983),[1][3] her last pornographic film, which is about her return to porn after a hiatus.[7] Her co-star was frequently John Leslie, a friend with whom she lived for a while.[1]

During shooting of Misty Beethoven, Jensen had objected to work she considered in excess of her contract and claimed damages for stolen possessions; she subsequently sued Metzger over his reuse of material shot for that film, particularly in Barbara Broadcast and Maraschino Cherry. The parties settled out of court in 1979.[1][2][8] It has been reported that Metzger gave her the alias Constance Money because of her demands for money,[7] but Metzger denied it.[2]

She was inducted into the AVN Hall of Fame in 1998[9] and into the XRCO Hall of Fame as a film pioneer in 2016.[10]

Subsequent career

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Encouraged by Hugh Hefner to try to cross over into mainstream film, she had a small part in Blake Edwards' 1979 film 10 and unsuccessfully sought the lead role in Frances (1982); the producers were unwilling to consider a star with a background in pornography.[1] She retired from acting to the Pacific Northwest.[1]

References

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Constance Money

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Constance Money (born Susan Jensen; November 30, 1956) is a retired American pornographic actress best known for her lead role as the title character in the 1976 adult film . Born in , she entered the adult film industry at age 19 after being discovered by a in and auditioning under the initial Jennifer Baker. Directed by (under the pseudonym Henry Paris), The Opening of Misty Beethoven is a loose adaptation of George Bernard Shaw's Pygmalion and the musical , following the transformation of a street prostitute into a sophisticated through rigorous sexual training. The film, shot on location in New York, , and with a relatively high budget for the era, is widely regarded as one of the greatest adult films ever made due to its witty script, elaborate production values, and performances by Money and co-star . Money's portrayal of Misty earned her critical acclaim within the genre, marking her as a standout performer in the "Golden Age" of pornographic cinema. Money's career was brief, spanning only a few years in the late and early , during which she appeared in approximately a dozen films, including Mary! Mary! (1977) and A Taste of Money (1983). She made a rare crossover to mainstream cinema with a small role in ' comedy 10 (1979), opposite and . In 1978, she became the first hardcore film actress to feature in a pictorial for magazine, further elevating her profile. Post-retirement, Money lived a private life, including managing a hunting lodge in , and has occasionally spoken about the personal toll of her career in rare interviews.

Early life

Family background and childhood

Constance Money was born Susan Jensen on November 30, 1956, in Lebanon, Pennsylvania. Her father was Dr. Eric Jensen. Jensen grew up in Kenmore, Washington, in an ordinary family environment. During her high school years at Inglemoor High School in Kenmore, she was actively involved as a cheerleader and maintained straight-A grades as an intelligent and dedicated student, graduating with the class of 1972. Reflections in later interviews portray her childhood as that of a highly intelligent girl from a typical upbringing, highlighting her bubbly and witty personality even in her formative years.

Education and early interests

Constance Money attended Inglemoor High School, where she served as a cheerleader. Following high school graduation in 1972, she enrolled at Mills College in , pursuing studies in and .

Adult film career

Entry into the industry

Constance Money, born Susan Jensen, began her adult film career in 1975 while she was a college student in the area. She was discovered through Harold Adler, who spotted her potential and forwarded her modeling photographs to director (working under the pseudonym Henry Paris). This led to an audition where Metzger cast her as the lead in a high-profile production, marking her professional entry into the industry at around age 19. Early in her career, Money performed under several aliases, including Jennifer Baker for her initial appearances and Christina Hoover for other early work, before adopting the stage name Constance Money at Metzger's suggestion. In interviews, she has attributed her decision to enter the field to a combination of financial needs—stemming from the challenges of supporting herself as a —and about the burgeoning adult entertainment scene. Her initial experiences involved navigating the audition process and adapting to on-set dynamics in an era when adult films were transitioning toward more polished, narrative-driven productions. The cultural context played a significant role, as the "porno chic" elevated adult cinema's visibility, with films gaining critical attention and theatrical releases akin to mainstream features, attracting performers seeking artistic or adventurous opportunities. This environment allowed newcomers like Money to debut in ambitious projects that between and legitimate filmmaking.

Major films and performances

Constance Money's career was marked by a selective output, with appearances in approximately a feature films over nearly a , allowing her to focus on high-profile roles rather than prolific volume. Her performances often showcased a blend of vulnerability and sensuality, contributing to the "porno " era's emphasis on narrative-driven cinema. Money's breakthrough came with her lead role as Dolores "Misty" Beethoven in The Opening of Misty Beethoven (1976), directed by under the pseudonym Henry . In this loose adaptation of George Bernard Shaw's Pygmalion, Money portrays a rough-edged New York prostitute encountered by renowned sexologist Dr. Seymour (played by ) in a seedy adult theater. Love wagers with a colleague that he can transform the inexperienced Misty into the world's most skilled lover through rigorous in , , and sexual techniques, ultimately elevating her from streetwalker to seductress. The film, praised for its production values and Money's nuanced depiction of personal growth, featured co-stars including Jacqueline Beudant as Geraldine Smith and Alex Stevens in supporting roles, and it remains a landmark in adult film history for its cinematic ambition. Following this success, Money starred in Mary! Mary! (1977), directed by Bernard Morris, where she played the titular Mary, a newlywed grappling with intimacy issues in her marriage to Ned (John Leslie). The film explores themes of sexual frustration and reconciliation through a series of comedic and erotic vignettes, highlighting Money's ability to convey emotional depth alongside physical performance. She also took the lead as Anna Carson in Obsessed (1977), a thriller directed by the Martin brothers, in which her character becomes the target of a deranged stalker (Jamie Gillis) amid escalating threats to her life and relationships, co-starring Annette Haven as Maggie Ronson and John Leslie as her husband David. She also appeared in Barbara Broadcast (1977), directed by Radley Metzger. These mid-1970s roles solidified Money's reputation for versatile portrayals in narrative adult features. Money's final adult film appearance was starring in her comeback film A Taste of Money (1983), written and directed by Richard Mailer, which semi-autobiographically chronicled her hiatus from the industry and return through encounters with former colleagues like and . The film blended documentary-style interviews with fictionalized scenes of her "emotional and sexual turmoil," marking a reflective capstone to her on-screen work. In addition to her films, Money gained mainstream visibility through Playboy magazine, featuring in a pictorial in the July 1977 issue under her real name Susan Jensen and a profile article titled "Call of the Wild" in the July 1978 edition, where she was highlighted as a pioneering adult film actress. These appearances underscored her crossover appeal beyond adult cinema.

Controversies and departure

In 1978, Constance Money filed a lawsuit against director , seeking $2,250,000 in damages for the unauthorized reuse of her footage from (1976) in subsequent films, including (1977) and Maraschino Cherry (1978). She alleged that Metzger had filmed additional scenes during production without her knowledge, intending to repurpose them without additional compensation or consent. The legal battle, which included counter-suits and media disputes, highlighted tensions over performer rights in the adult film industry at the time. The case was settled out of court on September 25, 1979, with Money receiving $4,750—far less than her initial claim—after which she covered her own legal fees despite the settlement exceeding her original pay for the film. Money's experiences extended beyond the lawsuit, encompassing broader discontent with industry practices, including payment disputes and the emotional strain of working conditions. In a 2015 interview, she recounted opting for a percentage of profits rather than a flat fee for Obsessed (1977), a decision that resulted in minimal earnings due to poor distribution and accounting transparency, leaving her financially strained. She described feeling exploited and emotionally depleted, particularly during intense shoots where she felt unsupported and broken down by directors and co-stars. These issues contributed to her growing disillusionment, as she viewed the adult film environment as lacking respect for performers' autonomy and well-being. Following her initial departure from the industry around 1978, Money made a brief return in 1983 for A Taste of Money, a that chronicled her own comeback narrative and marked her final adult appearance. This one-off project preceded her full retirement, driven by a desire for greater personal stability and opportunities outside pornography, such as managing a lodge in .

Personal life

Romantic relationships

During the , Constance Money maintained a long-term live-in relationship with fellow adult film actor John Leslie, with whom she shared a home for several years. This partnership evolved into a supportive dynamic where Leslie served as a , providing guidance and stability that Money relied upon amid the challenges of her career. Their connection, which included both romantic and platonic elements, offered her emotional grounding during a tumultuous period in the industry. Money's romantic involvement with co-star was more complex and intense, beginning as a short off-screen relationship around the time of their collaboration on (1976). On set, their chemistry contributed to the film's acclaimed performances, but the personal dynamic grew strained as the physical aspects became rougher, prompting Money to end it for her own well-being. Years later, in a 2009 interview, they reconciled amicably, reflecting on the past with mutual respect—Gillis expressed fondness for their shared history, while Money acknowledged lingering bitterness tied to her industry experiences. These relationships significantly shaped Money's personal growth, with Leslie's mentorship helping her build resilience and navigate professional pressures, ultimately influencing her decisions to seek greater autonomy beyond the adult film world. The intensity of her time with Gillis, however, underscored the emotional toll of blending work and romance, contributing to her later reflections on self-preservation and life transitions.

Family and children

Constance Money had a son. After largely retiring from filmmaking in the early 1980s, Money managed a hunting lodge in Alaska, embracing a rural lifestyle focused on family amid the state's remote wilderness. She later settled in the Pacific Northwest, where she raised her son away from public attention and continued her post-career endeavors. Money's family ties remained strong, as evidenced by a 2015 interview in which she discussed aspects of her and The Rialto Report also spoke with her father for the first time, providing insights into their relationship.

Later career

Mainstream media pursuits

Following her retirement from adult films in the late 1970s, Constance Money sought opportunities in mainstream , encouraged by her connections in the industry. She secured a small, uncredited as a pool player in ' 1979 romantic comedy 10, starring , , and , marking one of her few forays into conventional Hollywood cinema. Money also extended her visibility through non-adult media features, notably appearing in magazine. In July 1977, she was included in a pictorial titled "The New Girls of Porn," and in July 1978, she featured in a personal photo spread called "," which highlighted her as a pioneer among performers transitioning from X-rated work. These appearances positioned her as the first adult film actress to receive such coverage in the publication, aiming to leverage her fame beyond explicit content. Despite these efforts, Money's broader attempts to break into mainstream film or television were unsuccessful. Her prior adult film career served as a significant barrier, limiting casting opportunities in conventional Hollywood productions. No further roles or series appearances materialized, underscoring the challenges faced by performers from the adult industry in achieving crossover success during that era.

Professional transitions and current activities

Following her departure from the adult film industry in the late , Constance Money transitioned to managing a lodge in during the 1980s and 1990s, marking a significant shift to a more secluded, outdoors-oriented lifestyle in the remote . Money has since maintained a private life with limited details emerging about her professional endeavors. In a , Money reflected on her post-industry years with a sense of contentment, expressing satisfaction in her quieter existence away from and noting that she had no desire to revisit her earlier career. Following her in , no further public information on her activities has emerged, underscoring her commitment to privacy.

Legacy

Awards and honors

Constance Money received the award at the 1976 X-Caliber Awards, presented by , for her starring role in . In recognition of her pioneering contributions to the adult film industry, Money was inducted into the AVN Hall of Fame in 1998 as part of the 15th Annual ceremony. Nearly two decades later, she was honored again with induction into the XRCO Hall of Fame in 2016, specifically in the Film Pioneer category, highlighting her enduring influence from the of adult cinema. These accolades underscore Money's status as an iconic figure of adult filmmaking, celebrating her performances that blended sophistication and sensuality in an era when the genre was evolving toward more narrative-driven works.

Cultural impact and recognition

Constance Money's performance as the titular character in the 1976 film significantly contributed to elevating adult films toward artistic legitimacy during the . Directed by (under the pseudonym Henry Paris), the movie adapts George Bernard Shaw's Pygmalion into a of sexual transformation, featuring sophisticated scripting, international settings in and , and a blend of explicit content with comedic and dramatic elements that distinguished it from typical of the era. Widely regarded as a cornerstone of the genre, the film showcased Money's acting range and helped legitimize adult cinema as a form capable of artistic expression, influencing perceptions of pornography's potential beyond mere titillation. Money's legacy endures as that of an enigmatic and reclusive star, having starred in only a limited number of films before largely disappearing from public view, which has fueled ongoing fascination with her brief but impactful career. This mystique was prominently explored in the 2015 podcast The Rialto Report, where Money broke decades of silence to discuss her experiences, portraying her as a complex figure who transitioned to a private life managing a hunting lodge in and appearing in mainstream media like the film 10 (1979). Her reflections have notably shaped contemporary discussions on women's experiences in , emphasizing issues of , exploitation, and the harsh realities behind the industry's glamorous facade. In her Rialto Report interview, Money detailed non-consensual reuse of her footage in later compilations and uncomfortable on-set dynamics, contributing to broader feminist critiques of power imbalances and labor conditions in early adult film production. Retrospective recognition of Money's work has persisted into the through scholarly analyses and cultural events that highlight her role in adult film history. Rob King's book Man of Taste: The Erotic Cinema of examines as a key text in the "porno chic" era, tracing how Money's performance pushed boundaries between and explicit while reflecting evolving American attitudes toward sexuality. Similarly, a March screening of the film at in , introduced by King, underscored its lasting influence on debates about agency and transformation in adult cinema.
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