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Chambers sought work in theater and dance groups in San Francisco to no avail. In 1972, she saw an advertisement in the San Francisco Chronicle for a casting call for what was billed as a "major motion picture".[17] She rushed to the audition only to find it was for a pornographic film, which was to be called Behind the Green Door. She was about to leave when producers Artie and Jim Mitchell noticed her resemblance to Cybill Shepherd. They invited her upstairs to their offices and told her the film's plot. Chambers was highly dubious about accepting a role in a pornographic film, fearing it might ruin her chances at breaking into the mainstream. But she was turned on by the fantasy of the story and decided to take a chance, under the condition that she receive a hefty salary and 10 percent of the film's gross. She also insisted that each actor get tested for venereal disease. The Mitchell Brothers balked at her request for a percentage of the film's profits, but finally agreed, realizing the film needed a wholesome blonde actress.[18]
Chambers was relatively unknown prior to Behind the Green Door; however, the film made her a star.[10][11] Green Door, along with Deep Throat, released the same year, and The Devil in Miss Jones, ushered in what is commonly known as the porno chic era. Critics have since debated whether she was really having orgasms in her scenes or just acting.
Following Behind the Green Door, the Mitchell Brothers and Chambers teamed up for Resurrection of Eve, released in September 1973. Although not the runaway blockbuster that Green Door was, Eve was a hit and a well-received entry into the porno chic market. It also helped set Chambers apart from her contemporaries Linda Lovelace and Georgina Spelvin as the wholesome, all-American girl next door. Following Eve, Chambers was anxious to transition her fame into other areas of entertainment. At the time, the Mitchell Brothers were still her managers. "They were always talking about some half-assed idea I knew wouldn't come off", Chambers said in 1992. "'Flakes' is a terrible word but they were, in a cute sort of way".[17] Chambers had always considered the brothers as her own brothers but when she abruptly announced that she was leaving them to take up with Chuck Traynor, they were appalled and had a falling out with Chambers.
In retaliation, the brothers created a documentary in 1976 called Inside Marilyn Chambers, which was composed of alternate shots and outtakes from Green Door and Eve, as well as interviews with some of her co-stars. This was done without Chambers's knowledge or approval but when she learned of it just prior to its release, she negotiated a deal that would offer her 10% of the gross as long as she would contribute interviews to the film and promote it nationally. "I hated the film and I still do", she said later. "It's supposed to be the story of my life, and it's not true. Jim and Art ripped me off. They felt I'd betrayed them... I felt they'd betrayed me, and for many years, we didn't speak. Only when money was to be made did we start talking again."[17] Chambers reunited with the Mitchell Brothers in 1979 for two 30-minute features called Beyond de Sade and Never a Tender Moment, which explored