In the Cut

Deary me, some people get upset when a film isn't what they want it to be, don't they? How dare the film be what the film-makers set out to make, instead of what someone's narrow expectations dictate it should b?

Fancy In the Cut being gritty, seamy, sexy and deeply disturbing ... just like all the publicity (and the rating) warned us it would be. What a shock. How did the people expecting another Piano, or Meg Ryan Finds True Love Yet Again ever find themselves in the cinema?

As for those who have said they have walked out completely unmoved ... either they must be aliens or robots, or are fooling themselves, not wanting to acknowledge the truth of what they've seen on the screen. Seldom have I seen a film that so truly examines the dark side of our sexual impulses. I walked out quite shattered, and wandered around in a daze for a while.

Meg Ryan completely miscast? Ridiculous and insulting. How dare you tell an actress she has to be Little Mary Sunshine for the rest of her life. And she pulls it off brilliantly. She and Mark Ruffalo give the most stunning lead performances for a long time. Why? Because they're playing real, multi-layered people. Not goody-goodies or baddy-baddies.

Didn't like any of the characters? Must have a very limited range of acquaintances, or alternatively, don't like the real people you do know.

Thriller plot not thrilling? Admittedly it's not the strongest point in the film, but it has all the required shocks and surprises (and, you'd think enough gore for the modern audience), and while the revelation of the murderer is not the biggest twist ending ever, the final shot takes your breath away.

And anyway, Campion, while handling the thriller genre competently, is using it as a means to explore sexuality. And attraction. And how much of love involves physicality, carnality, trust, the desire to dominate, the desire to be dominated, and above all, the attraction of the DANGEROUS. Yes, adult stuff, not often tackled in mainstream films.

I think it's her best film ever (possibly excepting Sweetie), and I give it 9 out of 10.

In fact, much of Frannie's allure is that she isn't shy about her body, or even afraid to engage in sexual activity with Detective James Malloy (Mark Ruffalo) in her two room apartment on Washington Square…

In the Red Turtle bar, Frannie (Meg Ryan) inadvertently watched a man, with a tattoo on his wrist, receiving oral gratification from a girl with blue fingernails having diamonds in them…

Soon after, there was a homicide in Frannie's neighborhood… The body of the woman, or part of her body, to be exact, was found in the garden outside her window…The girl who was murdered was Angela Sands with the blue fingernails …

As the psychopath strikes again and again, Frannie embarks on a powerfully physical sexual relationship with Malloy, despite her rising suspicions, later on, that the serial killer in question may very well be the 'good cop' with the 'three of spade' she saw once…

Meg Ryan plays a very interior character living out of her unconscious emotions and actions, seeming always scared of what she wants… Her only passion was poetry… Her former lover Kevin Bacon— mentally unbalanced—thinks he should stick around because he slept with her twice… Bacon maintains a threatening presence throughout the whole picture… Jennifer Jason Leigh— exquisitely sexy— graces the screen as Frannie's half-sister Pauline… In his few scenes with Ryan, Sharrieff Pugh proves to be sweet and charming but also bad and scary

Half-baked, underwritten crime drama-cum-sexual thriller has Meg Ryan playing mousy English teacher in NYC attracted to a handsome homicide investigator on a serial murder case, one that has left body parts in Ryan's yard (and yet this barely fazes her!). Sub-plots involving Ryan's half-sister (Jennifer Jason Leigh, trying hard with a bad part), ex-boyfriend (an unbilled Kevin Bacon), her students, her job, and her fetish for the English vocabulary go absolutely nowhere. Meg, trying for an understated seriousness--but mostly just looking unhappy--gives a fairly brave and intriguing performance, and it's interesting to see her in these jittery, sordid surroundings, but the plot is alternately off-putting and curiously morbid; it's a fascinating misfire. Nicole Kidman co-produced (and perhaps was in line to star in the film herself), but Ryan does as good a job as any actress might have in the role. **1/2 from ****

Meg Ryan gives what may well be the breakthrough performance of her career in 'In the Cut,' a violent, erotic thriller from maverick filmmaker Jane Campion. Ryan plays Frannie, a college English instructor who is instinctively drawn to the seamier side of life. When women in her Manhattan neighborhood start falling victim to a grizzly serial killer, Frannie, as a possible witness, becomes a prime source of interest, both professionally and personally, for a homicide detective named Malloy, who has some troubling sexual proclivities of his own to deal with. Attracted by his edgy darkness and smoldering sexuality, Frannie succumbs to his advances, fully cognizant of the possible danger he represents. Is the law enforcement official as much of a threat to this young woman as the psychopath going about town decapitating and dismembering the local ladies? It is this kind of moral ambiguity that informs the entire movie.

From the very outset, Campion makes it clear that we are not in for a conventional police procedural. She is obviously more interested in character and mood than in the niceties of a well-oiled plot and streamlined exposition. Frannie is far from being the helpless victim or plucky heroine one usually finds at the center of such tales; she is a complex, moody, taciturn woman who seems to be drifting passively through life, with little passion, conviction or purpose to make any of it worthwhile. Even when it comes to her sexual obsessions, it often feels as if she is just going through the motions. It is hard for us to get a bead on her, for she is a perfect reflection of the world she inhabits, a world without a clear moral compass - so much so that we often don't know what we are supposed to think of her or the other people with whom she comes in contact. The script plays up the sense of dislocation by having characters appear and disappear seemingly at random throughout the movie, sometimes serving as little more than red herrings for both the story and Frannie's life. This often makes it so that we in the audience feel clueless as to where exactly the film is headed and what the overall purpose of it really is. It's often hard for us to get our bearings, yet, it is this very ambiguity, this sense of being rudderless and confused, that lifts the film above the tired conventions of the genre. In fact, the film is at its weakest when it concentrates on the intricacies of the plot - the resolution is remarkably mundane - and at its strongest when it merely records the eccentricities and passions of its two enigmatic characters.

The sexual content of the film is highly charged but not overtly offensive, with one glaring exception, at least in the 'unrated' version (I assume this does not apply to the version released to theaters). Early in the film, we are treated to a graphic, hard core close-up of an act of fellatio that clearly is not simulated. Consider yourself forewarned.

Ryan has never been better than she is here. She plays Frannie almost as if she were one of the urban walking dead, just right for a modern woman who feels no real emotional connection with the world and the people around her.

Mark Ruffalo is excellent as the cop who may be more of a threat to Frannie than the killer who's terrorizing the area. Almost as an afterthought, Kevin Bacon makes little more than a cameo appearance, overacting in the role of Frannie's stalker ex-boyfriend.

'In the Cut' is a subtle little mood piece that is more about observing behavior than it is about searching for a killer. Those looking for an intensely plotted thriller may not be as intrigued by this film as those searching for a psychosexual character study. It's the atmosphere and the performances that count in this film.

"In the Cut" features solid acting and a nice color scheme but is mostly unremarkable in terms of story, script and visuals. Savvy viewers will recognize most of the plot elements and characters from other recent thrillers. The film does, however, have two remarkable elements: an amazing 5.1-channel sound mix and a nude scene that is notable not for its pornographic or fantasy-fulfilling qualities but for its stark realism.

Anyone who appreciates film sound should watch (or rather, listen to) "In the Cut" because it's one of the few existing films that uses 5.1-channel sound for more than SFX gimmicks or making sure the Dolby Digital logo appears on its DVD case. The film creates real ambiance and mood with its sound mix, which helped suck me into the story world and get a sense of the characters' environment. I first noticed this when Frannie descends the stairs in the restaurant (just before she sees the mysterious villain). As she walks through the noisy crowd and down the stairwell, the conversations, bustling and other background fade from the front to rear channels and mix with her footsteps as she descends. This, to me, is much more elegant use of 5.1-channel surround than sticking a few whizzing noises in the rear channels when a spaceship flies off the top edge of the frame. "In the Cut" makes full use of its available channels, which is more than 99% of high-budget films can say.

The other piece of the film that stuck with me was the nude scene with Frannie and Malloy that follows their inevitable hook-up. It's so rare to see a Hollywood nude scene that features characters just lounging with nothing on and in such an unromantic setting. It's especially amazing with an established star like Meg Ryan. There are no mysterious L-shaped sheets to hide their bodies but there is also no sense that Campion left them nude to attract voyeurs to her film. The characters don't assume erotic poses; they simply act as if they've already seen what they have to show each other, as most people do after sex. I don't often praise realism in films, especially stupid thrillers, but this scene stood out as much as the excellent sound design. If only the rest of the film could live up to those standards.