This film's obvious precedent is Ed Wood's Glen or Glenda. Wood's film features himself as the title character, the beloved and befuddled Bela Lugosi, shots of stampeding buffalos, some unintended laughs as well as wistfulness, knowing that a supremely naive filmmaker exposed a part of his life that most would keep hidden. The best features of Wishman's film are that in color, it is prettier than her earlier black and white films. Leslie is certainly more attractive that Ed Wood in his angora sweater splendor. But Wishman has made a film that is even less cohesive that Wood's autobiographical piece.

Cobbled together over a span of seven years, the film is perhaps mostly of interest to those interested in Wishman, or in seeing a fairly well preserved "gindhouse" film. Even Wishman archivist Michael Bowen has stated he isn't sure who the audience for this film was suppose to be. One could describe it as an outdated psuedo-documentary on transgenderism. Some of the footage can be described as educational, as well as truly clinical, explaining to process of male to female surgery as well as including actual footage of an operation. But the film is a hodgepodge, padded with footage of pre-Deep Throat star Harry Reems with an unidentified woman, and a scene of Seventies porn star Vanessa Del Rio. Leslie is mostly seen in as above, discussing herself, while those transexuals who permitted themselved to be photographed nude are subjected to Wishman's lingering "money shots" of breasts and genitalia. In her commentary, Leslie notes that had she known about the pornographic content, she would never have participated in this film. That Wishman released the film without her name on the credits suggests that she may have wanted this "lost" film to stay that way.