Tag Archives: Lesbian

Battle of the Sexes

4 Oct

Emma Stone and Steve Carrell square off in Battle of the Sexes

Courtesy Fox Searchlight

 

Battle of the Sexes is more than just an empowerment victory lap for women and others seeking equality. It’s also a heartfelt tale of two intimate love stories — with the least surprising of the two registering the more surprising result. Oh yeah, it’s also a fantastic time capsule resurrecting the early ’70s with aplomb and a sad reminder of just how deeply chauvinistic mainstream culture used to be (and still is). Take the venerated sportscaster Howard Cossell commenting in the preamble of the titular event (an ABC prime-time broadcast that was almost as big as the Super Bowl) that if tennis pro Billy Jean King (Emma Stone) lost her wire-rimmed glasses and bland bob, she might shock the world with movie star good looks. Did Jimmy Connors or John McEnroe ever get brought up for their appearance?

King by all rights was a trailblazer, the first female professional athlete to earn over $100K in a year and a reluctant feminist icon who sought more equal pay for female players who were paid “eight times” less than their male counterparts. Resolute and unwavering to pro tennis tour honcho Jack Kramer (Bill Pullman) and his claim that men were the bigger draw, King quickly retorts that the women sell just as many tickets at the same price. Solid logic that gets brushed aside.

That’s when King and tennis promoter Gladys Heldman (Sarah Silverman) decide to create their own tennis circuit (what becomes the Virginia Slims Circuit). Kramer initially can’t believe the bluff and goes on the offensive in the media saying the idea will fail when it begins to take root. Not onscreen much, Kramer becomes the film’s de facto villain, more so than Bobby Riggs (Steve Carrell), the other half of the “battle,” who at age 55, an anointed tennis legend (Grand Slam winner, former No. 1 player, and tennis hall-of-famer) bored with life and addicted to gambling, reinvents himself by calling out King after her fiscal milestone. He’s a lover of the limelight and needs more than the bare-knuckle tennis matches he and his scotch-sipping cronies stage — with a handicap of course. In one deftly comical scene, Riggs has to hold a pair of Afghan dogs on leash while dodging a series of folding chair obstacles placed on his side of the court. For his troubles, he wins a Rolls Royce. Continue reading

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The Handmaiden

6 Nov

Park Chan-wook’s sensual psychodrama “The Handmaiden” begins in the epic bowels of conflict and strife, but it’s truly a cloistered affair where nothing is as it seems, growing increasingly more constricted over its nearly two and half hours. It holds its rapturous tease over us with scrumptious visuals, artful poise and dips into kink and gore that would give the Marquis de Sade reason to smile. Most remarkable, however, is that Park, best know for the violent tale of liberation and atonement, “Oldboy” (2003), part of his infamous “Vengeance Trilogy,” transposes Sarah Waters’ “Fingersmith,” a Victorian-era feminist romance, to Japan-occupied Korea in the 1930s. It’s not the first time the Seoul-based auteur has adopted foreign-penned work – his 2009 vampire tale of self-repression, “Thirst,” was in fact based on Emile Zola’s “Therese Raquin.”

102716i-the-handmaiden-bThe term “fingersmith” refers to either a midwife or a pickpocket. Given the film’s title you might assume the former, and we start off by meeting Sook-Hee (Kim Tae-ri), a young Korean who tends to infants whose fates are more likely dictated by matters of profit than the kindness of charity. But the reality is it’s both – and fingers in general play a large part throughout. Sook-Hee’s plucked from among the nannies by the dashing Count Fujiwara (Jung-woo Ha) to become handmaiden to Lady Hideko (Min-hee Kim), who lives in a stately manse that would be a perfect fit for a Merchant-Ivory project. As quaint as this all is, we learn quickly that all is not that tidy and proper; Fujiwara isn’t Japanese, or even a nobleman – just a shrewd opportunist trying to get ahead during tumultuous times, and Sook-Hee, for all her nurturing, wholesome innocence, has a past of using her dexterously light fingers for illicit gains. Continue reading

The Duke of Burgundy

31 Jan

‘The Duke of Burgundy’: Arthouse eros brings ’60s sheen to S&M, mind games

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Water sports, S&M and mind games abound in this lushly shot tale of lesbian role play, but all is not a titillating charade when it comes to the matters of the heart. “The Duke of Burgundy” takes place mostly within the cloistered confines of a Hungarian manse – a study, a kitchen, obviously “the bathroom,” the boudoir (the pair in bed shown provocatively only in reflective and refractive mirrors and metal objects) and a coffin in an anteroom – and the surrounding bucolic meadow where the lovers occasionally meander on their euro-styled bikes. Sure, there’s also the hall of academia, where Cynthia (Danish actress Sidse Babett Knudsen) dishes her lepidopterology findings with her fellows, but mostly it’s a photo op for well-shined boots set to tedious scientific droning.

013015i The Duke of BurgundyThe dynamic between Cynthia and Evelyn (Chiara D’Anna) is ever evolving. Initially Evelyn appears the part of a maid late for work on her first day. She’s obedient and demure in her duties, but under constant scrutiny and certain to make a mistake, and when she does she’s “punished” by being used as “a human toilet.” One might wince at such an act (it takes place offscreen, but the acute sound editing registers it profoundly in the viewer’s mind), but such are the games a pair in love play, and they go on to involve shining boots and being made to bake your own birthday cake without getting to eat it. Then there’s the time spent in that coffin-like chest – and through it all, Cynthia drinks plenty of water, ever ready to dispense her form of urinary discipline.   Continue reading

Blue is the Warmest Color

5 Nov

‘Blue is the Warmest Color’: Tantalizing and très French in its sensual complication

By Tom Meek
November 4, 2013

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Abdellatif Kechiche’s beguiling portrait of passion and betrayal received much ado at Cannes, where it won the top prize and garnered an NC-17 rating as it came ashore here in the states. At three hours in length, the French film, originally and more simply titled “The Life of Adèle,” is just that: the tale of a young woman coming of age and her sexual awakening. The big brouhaha whipped up is over Adèle’s true love being another woman. For the middle third of the film as their relationship blossoms, the girls, one in high school and one in college, have torrid couplings under the noses of their parents. It’s pretty graphic, with lip-to-labia contact, contorted scissoring and deep-tissue rump massages.

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The first of these protracted scenes feels apt and genuine, as it’s fueled by ardor and emotion, but the following ones feel staged and exploitive by comparison. Still, it’s how the two women, Adèle (Adèle Exarchopoulos) and Emma (Léa Seydoux), meet and their journey that drives the film, not the over-the-top sexcapades. Adèle, fairly popular at school, has a quick, trivial interlude with a male classmate who, after achieving the conquest, becomes cold and aloof. Then, out at a gay club with male friends, Adèle wanders into the abutting lesbian meat-market where she’s instantaneous shark bait. Across the bar, she and the blue-haired Emma (perhaps the impetus for the American title – that and the fact Adèle is almost always wearing a blue dress or like-hued attire) lock eyes repeatedly. The sharks circle closer and take their exploratory nips. That’s when Emma steps in and pulls Adele from a persistent plier, offering a sprig of earnest camaraderie without pander or expectation. But clearly there’s desire.  Continue reading