XCZECH MAGAZINE XCZECH LEGENDS Marilyn Jess • Real Marilyn

Marilyn Jess • Real Marilyn

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exciting-15-marilyn-jess-011Marilyn Jess was born Dominique Troyes, in the region of Île-de-France, also known as the Paris Region, on 26 October 1959. She was to become the quintessential French porn star of the early 1980s, and along with Brigitte Lahaie, synonymous with the country’s Golden Age of adult cinema.
She began her pornographic adventure in 1978. The 18-year old Marilyn had been on a summer holiday to Greece with her first boyfriend, Didier Humbert. He had taken some nude photos of her and on their return to Paris she went to get the film developed.

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“I had taken some nude photos while on holiday in Greece, and when I went to the lab to collect them, a photographer spotted them and asked me if I would like to pose for a lingerie shoot that very same day. I said yes. One week later, he called me again and asked me to pose for some glamour shots, but this time, without the lingerie. This was followed by further glamour shoots, and soon I was asked if I was willing to pose for hardcore photos.

Everything happened very quickly after that. The word soon spread that there was a new girl on the market. I then shot my first film using the pseudonym Marilyn Wild.”

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Although her first porn movie to be released was Cuissardes in July 1978, the first one the 18 year-old Marilyn actually shot was Collegiennes a tout faire (eventually released in October 1978). The story of Collegiennes was simple: Marilyn’s parents catch her having sex in the backseat of a car with her boyfriend, played by Didier Humbert.

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Deciding that their wayward daughter needs some structure and discipline in her life, they send her to a private institution, where she meets two other schoolgirls, played by Mika Bathel and Celine Gallone.

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Soon the girls are having sex not only with each other, but also with the gardener and members of staff, before everyone gets together in the dorm for the obligatory mass orgy. If it was not for Marilyn’s presence, the movie would be instantly forgettable. Nevertheless, it set the scene for future films, and over the next couple of years she would reprise the schoolgirl role numerous times. Like Danish porn star Anne Magle, Marilyn was one of the few women in the adult industry to believably portray teenage girls, regardless of her real age.

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Marilyn used the surname ‘Wild’ for the next few films, before eventually changing it to Marilyn Jess in early 1979. “In the USA, a porn actress already had this name, so I changed ‘Wild’ to ‘Jess’. ‘Jess’ was the name of a clothes shop where I bought all my stuff.”

Marilyn would later say, “Marilyn Jess is my pseudonym. My real name is Dominique Trouyes. Platinette is my nickname. Marilyn Jess and Platinette are two different people. Platinette is my nickname at home. It’s used by my boyfriend and my friends. Marilyn Jess is my stage name.” She did, however, use the name ‘Platinette’ for a number of photo shoots.
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When Marilyn began making porn films, her boyfriend also joined her. “It was to give me confidence and be part of my trip”, she would later say. Although he insisted on only working with her, Marilyn was not as exclusive. In February 1979 she admitted, “I film with Didier, other boys, other girls, everyone.”

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According to Marilyn, she found the move into hardcore pornography easy to make. “I was quite surprised, but it was exactly what I expected… From the outset I was able to separate my private life from my work. I have always kept this balance… At the end of the day, I always put on my normal clothes before going home. I could never make love to my husband if I was wearing the same underwear I had worn on set.”

Marilyn was also clear about what she would and would not do on camera. “Sodomy is something I do in my private life”, she would say. Although she did have anal sex in a few early photo shoots, the only scene she did on film was with Didier in Gamines en chaleur (1979). In all other films, such as Initiation d’une jeune marquise (1987), she used a double.

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“I have never accepted to have anal sex on screen… I have always refused to do this because I did not want producers or filmmakers to think, ‘who can we get for this scene? Let’s choose the little so-and-so as she will do everything!’ I didn’t want to be seen like that. I gave a little bit of myself to hardcore, not everything!”
Despite her professional approach to the porn industry, she also admitted, “I am an exhibitionist. I like being nice to look at… I love to work, to get attention from people who want me. I love to make money at work I enjoy. I love to be busy. I think porno is good. I have no problem with it.”

Marilyn and Didier eventually married on 5 May 1979. Prior to the marriage, she announced in an interview that the couple gave, “I’ll give him as many kids as he wants. It’ll be good in five or six years. I’ll be 26. 26 is a good age.” But when the reporter asked whether she would honour her vow of fidelity, Didier simply laughed, while Marilyn said, “Being faithful is…” She didn’t finish the sentence.
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Didier was never comfortable making porn and eventually quit after five movies. “You think it’s easy doing porn?” he said. “I thought so at first. We said, ‘cinema is cool’ and all, but when you spend a day on the set and you get home, you’re dead. More so than a guy who spends eight hours in an office. Especially in porn films where you need a hard-on. Obviously having a hard-on is easy, but when it’s for four hours and they say, ‘Get soft. Now get hard again’. You don’t know which way is up at the end of the day. It was clear to me on the first film I did. At the end of the day, it was a cuckoo. It goes up, it goes down. It’s exhausting.”

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Although he quit porn, Marilyn continued to make movies. She also enjoyed a libertine lifestyle away from the cameras and the strain on Didier was obvious. “Does it bother me that she makes love to other men?” he said at the time. “It would be good if she didn’t.” Marilyn was highly sexual though and unwilling to change. “If I want to make love to other men, I’ll tell him. And we arrange it so we’re together. We’re with others but we’re together.”
“Didier had sex with my sister,” she once admitted. “It was a bit odd for me too. My sister arrived one weekend and stayed over. We went to the movies, then we watched TV and ate and I stripped. She’s used to seeing me nude all the time at home. Didier stripped too. Then we asked her to strip. Didier and I began to fool around and we asked her to join us. I also had sex with her, but only briefly.”

Marilyn appeared in about 20 porn films in 1979, and her youthful looks, energy and sense of fun quickly made one of the most popular girls in the French adult industry. Brigitte Lahaie would later write in her autobiography, “I don’t think I’m betraying any secrets by saying that the current star of French porn, Marilyn Jess – who is an adorable and more talented girl than you could imagine – enjoys having sex well after the camera has stopped rolling… my success, just like Marilyn Jess and many others, came from the fact that the audience knew that we were authentic and really gave a part of ourselves to them in front of the camera.”

Despite her growing popularity though, Marilyn was usually consigned to supporting roles, while the films were, on the whole, instantly forgettable. She would later admit, “I was very young, too young when I started. I was skinny, my breasts were very small. I was shy and unsure of myself. I never pushed for the big films or the big roles.”

It was only when Brigitte Lahaie retired in 1980 that her career really took off. Her breakthrough came with the movie La Femme objet (1980), by legendary French director Claude Mulot [aka Frederic Lansac]. This was a well made, big budget production that is now considered a classic of French adult cinema, and established Marilyn as the successor to Brigitte Lahaie’s crown.

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The story revolves around a sex-obsessed science-fiction writer, played by Richard Lemieuvre, whose girlfriend, Nicole Segaud, leaves him after she is unable to keep up with his demands. Lemieuvre decides to replace her by building a female sex robot that will do exactly what she is told and satisfy his every demand. The end result is Marilyn Jess. Lemieuvre brings her to life in a scene reminiscent of when Victor Frankenstein brought Boris Karloff to life in James Whales’ 1931 classic, Frankenstein. And just with the movie Frankenstein, things soon start to go wrong for the inventor. Marilyn learns how to control herself, and develops her own feelings and insatiable desires. By the end of the movie she is in complete control, while Lemieuvre has been transformed into her own sex toy.

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Over the next two years Marilyn appeared in some of the best movies ever made by the French adult industry. Legendary director Francis Leroi once described her as “a truly incredible piece of ass” and went on to cast her in Petites filles au bordel (1980) and Charlotte mouille ta culotte (1981). She then worked almost exclusively with director Gérard Kikoïne in one classic after another: Pensionnat de jeunes filles (1980), Chaudes Adolescentes (1981), Journal intime d’une jeune fille en chaleur [aka Adorable Lola] (1981), Dans la chaleur de Saint-Tropez (1981), Vacances à Ibiza (1982) and Bourgeoise et pute (1982).
“For one year I shot exclusively for Gérard Kikoïne. I will never deny that I have always preferred working with Kiko! I’ve never had an agent. I always made my own decisions. Some movies I accepted haven’t been great, but I will never regret working for real directors like Kikoïne or Claude Mulot. These directors have proved that they could easily make mainstream movies.”

Marilyn was now at the height of her popularity. French porn director John B. Root, who established himself during the 1990s working for Marc Dorcel, would later say: “What a woman! She is the same age as me, and when I was an 18 year-old going to porno cinemas, I used to watch her on the screen. She was the girl of my dreams. Marvellous, simply marvellous! For me she defined early 1980s French porn”

Marilyn’s popularity at this point was not limited to porn, and she soon began working as a model for the French satirical magazine Hara Kiri. The magazine had first been established in 1960 while its weekly counterpart, Hara Kiri Hebdo, was launched in 1969. Hara Kiri Hebdo earned the wrath of the French authorities in November 1970 when it downplayed the death of President Charles De Gaulle. As a result, the magazine was immediately and permanently banned from sale to minors. To sidestep the ban, the editorial team decided to change its title to Charlie Hebdo, which gained world-wide attention in January 2015 when Islamist extremists attacked its offices in Paris killing 11 members of staff and injuring a further 11.
Marilyn had first become involved with Hara Kiri in 1979, when she took part in a photo-shoot with French singer Serge Gainsbourg. By the early 1980s she was regularly on the magazine’s cover and part of its fotonovela as one of the ‘Hara Kiri girls’.

However, her career in porn caused strains with her parents. “My mother hates what I do, what I am,” she said. “My father loves it. But they disagree about everything. To my mother I am a whore. To my father a princess. They almost got divorced over me. My father would not tell me to quit as my mother wanted him to. My father is so important to me. I would do most anything he asked. But I can’t imagine him asking me anything that would hurt me, and to quit porn films would definitely hurt me.”

Her husband, Didier Humbert, died prematurely in 1982. Marilyn continued to make porn movies, but the industry in France was changing. Just as with the porn industry in the US, video was being introduced and the overall quality of films was deteriorating. Marilyn’s star had begun to fade. Then in 1984 she began working with actor/director Gabriel Pontello, whom she originally met in 1979 while shooting for the Italian hardcore fotonovela Supersex. Pontello became her manager and started to turn her career around.
“I think I was one of the few women who saw him for the asshole that he is,” she would later say. “I did not fall in love with him like the others, and maybe because of that he manages me very well. I became a blonde, took acting lessons, and probably most important, I quit drugs. My skin became firmer and healthier, I had much more energy, my breasts grew much larger, much fuller. I gained a lot more confidence under Gabrielle’s guidance and started landing bigger and better porn film roles.”
Although there were to be no more great classics, films such as Diamond Baby, Le Retour de Marilyn (both 1984), Intim Kontakt privat and Sens interdits (both 1985), are all worth hunting down.
Since Didier Humbert’s death, Marilyn had had a string of casual relationships, but had refrained from becoming seriously involved with anyone in her private life. “I love women. That is when I can be softer, more gentle… They are much less possessive. But I get bored with women faster than men. I have lived with both, but men hold my interest longer.”
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Then in 1984 Marilyn met and fell in love with director Didier Philippe-Gérard [aka Michel Barny]. Didier Philippe-Gérard was the son of composer M. Philippe-Gérard, whose work had been covered by singers such as Édith Piaf in the 1940s and 1950s. Didier Philippe-Gérard was also an old friend of Kikoïne’s, and the two of them had worked together on classic French porn films such as Mes nuits avec… Alice, Pénélope, Arnold, Maud et Richard (1976) and Les hôtesses du sexe (1977).

According to Marilyn, “He knows I am a porno star. It excites him, but not in a sexual way. Like I was a race car driver or a rock star. He thinks it’s cool that my picture is everywhere, and that everyone wants me. He does not care that they want me for sex. To him it’s good to be popular and successful, it does not matter why.”

Didier continued to direct the odd porn film and Marilyn continued to act in them, but they never worked on the same project. According to Marilyn, “It works because he is behind the camera and I’m in front. But the two sides never meet. They are completely different.”
In 1987 Marilyn took the inevitable step of trying to break into the US market, starring in cheaply made and instantly forgettable productions such as Paris Models and Bachelor Party. The experience was not a success. “I do not like to talk when I make love. The American directors want you to talk all the time. In France they understand that when I am truly excited I do not talk at all. I put all my attention on the man or maybe the woman.”

 

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Nevertheless, despite the culture clash, she concluded that sex and men were basically the same everywhere. “Men are men. They are all assholes, wonderfully charming assholes… I think that European men are more patient lovers, slower and softer. But American men can be crazier, more wild and passionate. But I am generalising. All men love my big, round soft tits. All men love to see me bend over and touch my hairy pussy. All men love when I suck their hard cocks and look into their eyes. All men like to think that they make me come many times.”
Back in France she appeared in Girl with the Million Dollar Legs and Mimi (both 1987) alongside US porn stars Porsche Lynn and Paul Thomas. Porsche would later recall the difficulty of working with a mixed cast.
“We were going to be using a lot of French porn stars, like Marilyn Jess, Gabriel Pontello and Christopher Clark. It was fun meeting the French porn stars and a bit challenging as well. Trying to do a sex scene with people who spoke little or no English was not always the easiest thing. One would think it wouldn’t matter but when a strange woman is licking your pussy, at times it still got a little confusing. There are a lot of things that get lost in translation in such situations.”

 

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However, her career in porn caused strains with her parents. “My mother hates what I do, what I am,” she said. “My father loves it. But they disagree about everything. To my mother I am a whore. To my father a princess. They almost got divorced over me. My father would not tell me to quit as my mother wanted him to. My father is so important to me. I would do most anything he asked. But I can’t imagine him asking me anything that would hurt me, and to quit porn films would definitely hurt me.”
Her husband, Didier Humbert, died prematurely in 1982. Marilyn continued to make porn movies, but the industry in France was changing. Just as with the porn industry in the US, video was being introduced and the overall quality of films was deteriorating. Marilyn’s star had begun to fade. Then in 1984 she began working with actor/director Gabriel Pontello, whom she originally met in 1979 while shooting for the Italian hardcore fotonovela Supersex. Pontello became her manager and started to turn her career around.
“I think I was one of the few women who saw him for the asshole that he is,” she would later say. “I did not fall in love with him like the others, and maybe because of that he manages me very well. I became a blonde, took acting lessons, and probably most important, I quit drugs. My skin became firmer and healthier, I had much more energy, my breasts grew much larger, much fuller. I gained a lot more confidence under Gabrielle’s guidance and started landing bigger and better porn film roles.”
Although there were to be no more great classics, films such as Diamond Baby, Le Retour de Marilyn (both 1984), Intim Kontakt privat and Sens interdits (both 1985), are all worth hunting down.

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Since Didier Humbert’s death, Marilyn had had a string of casual relationships, but had refrained from becoming seriously involved with anyone in her private life. “I love women. That is when I can be softer, more gentle… They are much less possessive. But I get bored with women faster than men. I have lived with both, but men hold my interest longer.”[/nextpage]
[nextpage title=”Last Movie”]
Marilyn made two last great movies before she retired in 1987. One was Traci, I Love You, where she was unfortunately overshadowed by Traci Lords herself. The other was the wonderfully erotic period piece, Initiation d’une jeune marquise – perhaps her best movie since the early 1980s when she worked with Kikoïne.
“I never regretted doing porn. Sometimes I would want to move on to other things, but I loved the atmosphere of the shootings… But after ten years of acrobatics, it’s normal to want to do more than fuck in a film… Then AIDS came along and changed everything. I was afraid.”
Despite leaving porn films, Marilyn continued modelling for softcore magazines and even worked in various Paris strip clubs and peep-shows until the early 1990s. Then she quit the adult industry altogether, had two children with her husband, Didier Philippe-Gérard, and faded from public view for almost 25 years.

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In 2010 Didier Philippe-Gérard was presented with an award for his work in cinema at the Lausanne Underground Film & Music Festival. Marilyn was with him at the ceremony. She also appeared with him at further cinema related events in 2011, and in 2014 she agreed to join veteran French porn actor Alban Seray in a comical trailer promoting Gérard Kikoïne’s autobiography. Of course the trailer was a take-off of the porn movies both Marilyn and Alban used to make with Kikoïne 35 years earlier.
In a 2011 interview for the French national newspaper Liberation, Marilyn Jess looked back at her time in the French porn industry: “My career lasted from the end of the 1970s until 1987. Today a girl is catapulted to star-status with the publication of her first photos. Within six months she is old news. We were a group of about fifteen recurring actors and actresses back then. We had entered porn as a way to express ourselves, because we were exhibitionists, and because of a certain sense of narcissism on our part. Our motivations had nothing to do with wanting to be celebrities. I was 19 when I entered porno [actually she was 18] and was already doing well as a model. Then I was offered the chance to do something different… We lived in a bubble, constantly working with the same people. We were a small part of the bigger World of Cinema.

We were a small community that, thanks to the arrival of the pill, believed in the sexual revolution, and whose motto was ‘Pleasure without restraint’. We were a group of girls that came together in these films to express our sexuality, our fantasies and our freedom… My generation was the last to enter adult cinema for the reasons we did, by accident, searching for utopia and pleasure.”
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MARYLIN JESS

Aka: Christene Muller, Marilyn Wild, Platinette
Real Name: Dominique Troyes
Place of Birth: Île-de-France, France
Date of Birth: 26/10/1959
Film Career: 1978-1987
Height: 1,68m / 5’6”
Recommended Movies:

  • Charlotte mouille ta culotte (1981)
  • Chaudes Adolescentes (1981)
  • Dans la chaleur de Saint-Tropez (1981)
  • La Femme objet (1980)
  • Initiation d’une jeune marquise (1987)
  • Journal intime d’une jeune fille en chaleur (1981)
  • Pensionnat de jeunes filles (1980)
  • Petites filles au bordel (1980)
  • Sens interdits (1985)
  • Vacances à Ibiza (1982)

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