IMDb > Let Me Die a Woman (1977)
Let Me Die a Woman
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Let Me Die a Woman (1977) More at IMDbPro »

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Release Date:
1977 (USA) See more »
The Why and How of Sex Change Operations! See more »
A documentary on the work of sex-change specialist Dr.Leo Wollman, including interviews with Dr.Wollman and a few of his patients... See more » | Add synopsis »
User Reviews:
Rather naive documentary made under the banner of exploitation See more (14 total) »


  (in credits order)
Deborah Harten ... Herself - Transsexual
Lisa Carmelle
Frank Pizzo

Harry Reems ... Rhoda's Cab Driver (as Tim Long)
Carol Sands
Billy Kelman
Doug Martin
rest of cast listed alphabetically:
Ursula Austin ... Blanche (uncredited)
Arlana Blue ... Rhoda (uncredited)
Vanessa del Rio ... Sandy (uncredited)
Michael Gaunt ... Tom (uncredited)
Richard Towers ... John in Park (uncredited)
Leo Wolman ... Himself - Leo Wollman M.D. (uncredited)

Directed by
Doris Wishman 
Writing credits
(in alphabetical order)
Doris Wishman  written by (uncredited)

Produced by
Doris Wishman .... producer
Original Music by
Thomas Valentino 
Cinematography by
João Fernandes  (as Juan Fernandez)
Jack Malick (uncredited)
Film Editing by
Louis Burdi  (as Lou Burdi)
Editorial Department
David Block .... colorist (uncredited)
Ricardo Olivero .... color timer (uncredited)
Other crew
Doris Wishman .... continuity (as D. Whitman)
Leo Wolman .... scientific and medical advisor (as Leo Wolman MD)

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Strange Her - Adam or Eve" - Japan (English title)
See more »
79 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Argentina:18 | Australia:R (censored) | Canada:R (Ontario - edited version) | Canada:18+ (Quebec) | UK:(Banned) | USA:X

Did You Know?

Film was originally released in 1972 in a significantly different form under the title Strange/Her.See more »
Movie Connections:
Featured in Blood of 1000 Virgins (2013)See more »


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1 out of 3 people found the following review useful.
Rather naive documentary made under the banner of exploitation, 5 May 2012
Author: tomgillespie2002 from United Kingdom

An extension of the Mondo-style documentary, with their "mission" to illustrate, and exploit unknown or forgotten cultural practises and habits, Doris Wishman's (see Review #298: 'Deadly Weapons' (1974)) Let Me Die a Woman follows the work of sex reassignment surgeon Dr Leo Wollman (who also acted as the films adviser), and his work with both post- and pre-op transsexuals. The film has interviews with the aforementioned doctor, along with several transsexuals in various stages of transformation, and also throws in some re-enactments and dramatisations of some of their experiences.

Whilst this is billed under the exploitation banner, and would have been shown in these types of cinema, the film is not overly exploitative, and presents the stories and their participants in quite a sympathetic manner. However, the film does explore, in a very graphically visual manner the operations required to alter the genitalia. Of course with this being made in the 1970's means that the screen is filled with incredibly hairy, militant-looking pubic areas, whilst these men with tits flash their flaccid c***s for the camera. In one scene the doctor probes a post-op vagina with his fingers - a sexual orifice so hideous that I simply had to avert my eyes.

Aside from the Mondo movies (and of course Faces of Death (1978) et al), I am not really aware of any other exploitation film that used this documentary style to expose new, sometimes weird phenomenon - except for Being Different (1981) that focused on exploiting circus sideshow acts, and included a modern day Elephant Man - so I am unqualified to state whether this film is emblematic of it's kind. What does strike me is the fact that this type of documentary was so new, and also that it was marginalised to the exploitation/grindhouse circuits. The subject matter, and the gratuitousness of the film highlights to me how this kind of "exploitation" is in fact now a fundamental part of prime-time television, with shows such as Embarrassing Bodies or any others of the many, many similar formats that infest our screens, in our homes, whilst we f*****g eat our dinner! Given this parallel, and shift in the ways in which the participants are exploited in the modern-day TV show and the cinematic format, the film is pretty naive.

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