Tales from last week


A glimpse into Neo relaxing

Before I talk about the DVDs for this last week, let's talk about sex and nudity in film.

Most films don't need either and work better without.

Yep, this is NeoWayland writing this. Avowed sensualist and ardent admirer of the female human form.

Nudity is not sex, as I've told you many times before. More times than not, nudity and the barest hint of sexuality is used to titillate, not for the film.

By the way, I use the same idea about special effects. If it's all about bigger explosions rather than the story, it's not really good filmmaking.

I've a rule of three I use here. Nudity and sex work in a film if it's truth, if it advances the story, or if it advances the character.

In Excalibur, the sex not only advances the story, it sets up two vital plot points. It's also handled well. No closeups of penetration. While that may have it's place, it's also what defines port. Excalibur isn't porn.

In Swordfish, the two seconds or so that we see Halle Berry's nipples are unnecessary. The film would work better if the audience ALMOST saw them.

Neither of those films are part of last week's list.

The first film for last week is Simon, King of the Witches. It was better than okay, but it does need some explanation. Simon isn't a witch and doesn't call himself that, he's a ceremonial magician. That's what others call him too. Simon isn't a king. This film does have nudity and a fairly detailed bit of sex magick. It's part of the story though. This film works only if you realize that not only is Simon the viewpoint character, all of the story is filtered through Simon's perceptions. To Simon, the people around him really are that clueless and easily manipulated. The saving grace of an otherwise B movie is Andrew Prine's performance of Simon. The film is a better written than the average psychedelic drama, but all the other characters are cardboard cutouts. That works in the context of the film.

After I watch one of these, folks who aren't Pagan ask me if that is really how it is? In this case, yes and no. Simon's attitude is exactly right. His rituals are partially accurate. Some witch covens really do practice nude, and there are some rites that require blindfolding. I can't speak to the specifics, but it's not a tradition I'm familiar with. Oh, and the way that Simon uses and carries his knife is pretty accurate.

The second film was The Maltese Falcon. Now yes, this is a classic film, and Bogey's performance is amazing. That bit where he gives the partner speech lets you see right into the heart of Sam Spade, he's being honest with himself for the first and only time during the film. The writing is great, but it's Bogart's performance that makes it art.

The film and the original book are very much products of their time, especially in the stereotypical portrayal of homosexuals. Unfortunately, this was made during the days of the Hayes Office and the Production Code. This means that the three speaking female roles lose most of their identify. Iva Archer comes off as a dish rag. Brigid O'Shaughnessy is a whispering China doll, and Effie Perine loses one of the best lines in the story. Even diminished, Effie is the only female character that I find interesting.

I understand that the 1931 version was much more sexual in it's approach. O'Shaughnessy SHOULD be overtly sexual, it's her path to power. She's nearly as good at it as Sam Spade is at his job. That's part of what made the partner speech that much more interesting. That, and when Iva Archer actually was a character who had reason to cheat on her husband with Spade.

So yes, a little sex and nudity in the 1941 version would have made it a better film. As it is, the tight writing (gods is it tight), and the acting of Humphrey Bogart, Peter Lorre, and Sydney Greenstreet carry this film into classic status. The cinematography pushes it over the edge.

The final film this last week was the animated Wonder Woman. This was better than the usual comic book film, and there was a lot that was spot on. Diana's disgust with the way that women and children are delegated to a secondary role certainly stood out. Alfred Molina chewed scenery as Ares. And it's always great to see hear Nathan Fillion. But honestly, the relationship between Diana and Steve Trevor came across as forced.

Posted: Tue - January 5, 2010 at 03:18 PM
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