Born in Denmark in 1945, Bodil Joensen was a prolific porn actress, starring in around forty films from 1970—1972. Remembered for being the first ‘star’ of bestiality flicks, she genuinely loved animals, often literally…
First introduced to the exciting world of porn by director Ole Ege (now proprietor of the Copenhagen Erotic Museum) and later starting to suck and fuck for Denmark’s Color Climax Company, it was whilst working for the latter (already known for films involving midgets and kids) that she suggested they film her having sex with her various animals.
Like many in the porn industry, her childhood was an unhappy one; violently raped aged 12, Joensen recalled trying to extract revenge on her extremely abusive and devoutly Christian mother (who did not believe that she’d been raped) by telling her that when she grew up she would “fuck boars”. As she grew older, her strange proclivities began to manifest themselves and, isolated from human emotion, she experienced her first orgasm aged 12, when her pet Collie Lassie ran up and licked her bare crotch while she was laying in bed. Becoming estranged from her family at 15, she was taken in by rural pig farmer Gunnar Nielson, supporting herself by working on his farm. Whilst there Nielson notes that she “particularly enjoyed helping to inseminate the sows”, sometimes working late just so that she could watch them at it.
After leaving Nielson’s farm, Bodil set up her own breeding operation, christening it Odsherreds Soedcentral (Insemination Central). This was a profitable enterprise, at least until the local gossip-mongers started to spread malicious rumours that she was sleeping with (married) local farmers. Business soon dried up and, desperate to keep her farm with its many animals (all of them having free run of the farmhouse), she decided to make some money by filming what she enjoyed best, bestiality.
Her first foray into filth was entitled ‘A Summer Day’, featuring sex with horses and pigs, for which she was paid a total of 2000 Danish Kroner for her performance. Marketed as a documentary, the film was a collaboration between director Shinkichi Tajira (later a teacher at the Berlin Art Academy) and Ege, sound tracked by Beethoven’s ‘Pastoral Symphony’ (apparently due to the destruction of the original audio). The movie was even entered for the ‘Wet Dream’ erotic film festival in Copenhagen (which also apparently featured an orgy room behind the screen), attracting much attention and criticism from the judges, including arch-Feminist Germaine Greer.
The success of the film and the uniqueness of her deviance turned Bodil into a media star almost overnight. Several more TV and film documentaries (of varying shades of legitimacy) followed, including ‘Why Do They Do It?’ (1971). Sensing money to be made, she opened her farm up to tourists, charging for thirty minute photo sessions of her posing with her animals. This seems to have been no great hardship for Bodil; perhaps unusually for someone in her line of business she appears to have actually enjoyed her work, sometimes filming four films in as many hours. Her bull Sofus was not always so keen, however, often needing to be dosed with the African stimulant Yohimbene to get him aroused).
Upon withdrawing from her ‘career’ she became a virtual recluse, living on her farm in rural Denmark with only her pet dog for company and committing suicide in the early eighties, following a bout of severe depression. Her most famous performance remains that of the notoriously bizarre ‘Animal Farm’ (covered excellently in issues 14 and 15 of the Headpress zine).