Sexe, mensonges & vidéo

"The last time I was happy, I got so fat."

If you chuckle during Andie MacDowell's famous line in Sex, Lies and Videotape, you'll probably think of her sister, Laura San Giacomo as the lead. If you laugh yourself silly, knowing Andie's confession is also true for you, you'll probably think of her as the lead. My weight has always been a direct correlation of my happiness, so that line been added to my household phrases!

If you've never seen it, you'll have to put on your 1989 goggles before renting Steven Soderbergh's breakthrough indie movie. By today's standards, this movie is tame. In 1989, it was shocking and actually considered quite nasty. It was a time before the internet, before photos and videos were constantly taken and spread around, and a time when movies didn't always show nudity and graphic sex scenes. By today's standards, it's not really an oddity if a young man prefers to film and watch sexual encounters rather than to participate in them, but in 1989, James Spader's character was very unusual. Just like most photographers or videographers, he uses the lens to distance himself from situations. He asks people questions about their sexual experiences, and when the women answer him honesty, it's supposed to be very daring. It was daring in 1989!

The other part of the plot is a love triangle involving the dreamy Peter Gallagher. He's married to Andie, but having an affair with her sister, Laura. I've played Laura's part in two separate college reproductions, so I've studied the script probably far more than the average viewer. There's quite a bit to analyze in Soderbergh's script, which film students have been discussing for thirty years. It's a bit of a love-it-or-hate-it movie, so if you watch it and shrug, don't feel like you're missing something. There are plenty of people who think it's overrated and weird, just as there are plenty of people who think it's a staple in indie movies.

It is a film about relationships, dilemma, courage and more. What works in life and what does not. Honesty does and (crudely speaking) at a very basic level that is the message. At the very heart are the three protagonists who are stuck. The therapist is spectacularly wrong in his interpretation to the apparently frigid wife: 'If you think about it ...you are obsessed about things you have no control over'. But she demonstrates at the end that she did have the control. All she needed was a better, more 'intimate' therapist; a catalyst : Graham ; who ends up uncluttering the cheating sister in law's mind and forces the husband to confront his problems in the process. It is a remarkably optimistic film in its content and therefore perhaps slightly unrealistic.

It is a film about masterful use of contrasts; the two women and the two men could not have been more opposite in every possible respect. In a way Graham is also a perfect contrast to the imperfect Psychoanalyst. This helps the director bring out the message clearly.

The whole film is crafted in a minimalist way, flows smoothly and does not carry much 'garbage'! Music, camera and the narrative are almost perfect in that they are almost invisible. So are the actors, especially James Spader and to a large extent Andie MacDowell. Gallegher is probably less than perfect but very good nonetheless. Laura Giacomo portrays a rather difficult character really well. It treats the audience with respect as the message is subtle and very personal, as it should be. My only grievance is the last office scene involving Gallegher was probably unnecessary.

Sex and the videotapes are incidental to the storey and perhaps misnomers therefore.

It is like reading a rather well written short storey and I would recommend 'Days And Nights In The Forest' (perhaps slightly more realistic and understated than this film) by Satyajit Ray to those who have enjoyed this film.

My rating 8/10.

I have to admit this is one film that surprised me. I didn't really expect to like it, thinking it was going to be just another talkfest. But sure as the wind blows, as the story progressed, it dragged me in.

Andie MacDowell in pretty much her first leading role, really surprised me with an extremely compelling performance as the well-meaning wife caught in a dull almost sexless marriage , who at the film's outset, may well believe she is at fault, and requiring of psychiatric therapy. I've been a fan since way back with Greystoke, where her Jane was dubbed by Glenn Close. (Why I don't really know?). But there have always been critical musings concerning her alleged lack of acting ability. All I can say, is that there were instances in the second half of SL&T, where I thought she was mesmerising.

Laura San Giacomo plays her sassy, uninhibited bartender sister Cynthia, who is having a long-term affair with John, Ann's husband. Into the mix is introduced Graham, an old friend of John's whose own repressions and the means he has of relieving them, will end up casting plenty of light on the title's secrets and lies. James Spader gives an understated, but alluring performance as Graham, whose knack of attracting women to talk openly about their sexual secrets on videotape, will force all four lead characters to face truths about themselves and each other.

In his debut feature, writer/director Stephen Soderbergh openly reveals the creative hand he has consistently played over the years across a range of movie genres; the presentation of frank, realistic, smart dialogue. He was only 26 when he made this film and though I don't see this as being a "great movie" per se, it is easy after seeing it, to appreciate why Soderbergh is frequently regarded as the most influential independent director of late 20th century North American cinema.

Spader's character was the reason I enjoyed the film so much. I could identify with him and his dilemma. It seemed he felt like a stranger in an even stranger land. Who were these humans that seem so happy in the same world he could not find happiness within? What is this life we live? More importantly, what is the point? Why bother? His great battle with existence was a philosophical one. He, like myself, felt infinite sadness over the knowledge that are no concrete answers...

The movie is also interesting because it attacks the main sexual organ, the mind. Graham while trying to distance himself from the human experience by capturing sex confessionals on videotape, perhaps unwittingly became more intimate with his "partners." Roger Ebert points out that the films' argument is that conversation is better than sex.

Personally, I think the movie is about trying to find happiness with another person. Some Modest Mouse song lyrics come to mind. "And it's hard to be a human being/ And it's harder as anything else/ and I'm lonesome when you're around/ I'm never lonesome when I'm by myself" Graham finds it hard to be a human being and live in this human world full of values that he finds strange, confusing, and most importantly unfulfilling. What do you do when your ideology and needs don't mesh in the society you live within? How does one deal with feelings of loneliness in a society that spurns him? This movie is about one man's way.

James Spader does such an excellent job as this character. In fact, great acting all around by the entire cast and excellent writing and directing by Mr. Soderbergh. Go see this movie now!

Steven Soderbergh's debut film is voyeuristic, intense, gripping, and intriguing. It's the story of four people. Ann is a sexually repressed woman with an obsession for cleanliness and organization. Her husband, John, is a lawyer and he is cheating on his wife with her own sister, Cynthia. Ann lives oblivious to what is going on behind her back, despite her deteriorating sex life with John. But things really start to change Graham, an old friend of John's comes in town to visit. Graham is a strange man with an odd set of ideals who also has a fetish of filming women talk about their sexual fantasies. When these personalities conflict and intertwine things start to change dramatically and the tension rises all the way through Soderbergh's ingenious script and his quiet yet intensely focused direction of some fantastic performances.

sex, lies, and videotape is a very risky film which graphically examines sex with the utmost seriousness. In this film sex isn't made into a joke like American Pie, and it isn't turned into some sadistic and grotesque motif like Se7en or Silence of the Lambs. Sex is looked at under a very dramatic and very sincere scope which treats it like any mature and significant piece of subject matter. This is what sets sex, lies, and videotape apart from so many other films of its nature. It is serious, but doesn't give the feeling that it takes itself too seriously. It has to be serious and it just wouldn't feel right for this film to not be as sincere as it is.

The conversations Soderbergh has constructed here are something that need to be serious and need to be focused in order to get the artistic point across. And it is amazing how well the script is constructed. The dialouge feels incredibly real and it knows just when to pull out all of the dramatic stops. The script doesn't feel like it needs to be profoundly eloquent at all times. It is lighthearted and casual at the appropriate times, like when Graham first arrives and he, Ann, and John all sit around the dinner table casually discussing the past, the future, and life in general. But where the real genius comes in is when we realize that despite the present conversation being casual on the surface there is that constant underlying tension which escalates throughout the entire film until it all comes into fruition at the end of the film. The script has all these intelligible nuances that are absent in most "serious" films these days; something you don't really realize is missing until you see how well it can be done in a film like sex, lies, and videotape.

Now obviously this is a very character driven story and I will admit that it is hard to build an emotional connection with any of the characters. To call them imperfect would be a grotesque understatement. The four of them are incredibly flawed people who in retrospect, aren't really good people at all. They all have serious issues that affect their lives dramatically and create situations that are inescapably awful for everyone involved. But what the film lacks in emotion it makes up for in sheer intelligence. The film is so ingeniously crafted that a strong emotional connection to the characters would only cause a distraction to the film's clever craftsmanship.

It's a common misconception that you need to feel strong sympathy for your protagonists in order for a film to be good. sex, lies, and videotape doesn't intend for you to connect with these people. We are only supposed to be fascinated and awestruck at their twisted and bizarre lives. And so to me, this film does its job and it does it well. However, you do feel a strong connection to the film itself and you do want to know what will happen to these people because of the enthralling way this story is told. The absolute beautiful intensity of the script with draw you in so strongly that you won't want to miss a second of it. There comes a point where you begin to feel you must know what happens to these people because you must know how Mr. Soderbergh intends on wrapping this intriguing drama up.

sex, lies, and videotape is well written, well directed, and well acted so its already set up to be a great film. But then you add the pure ingenuity of the way the story is told and what a profound examination of human relationships it is and it is now a fantastic film. This isn't one of those films where you pick out particular scenes that you really liked or specific moments that really wowed you. The entire film cumulatively works together as one single wow moment that you just adore. This isn't a film that you will be strongly moved by and it won't bring you to tears, but it isn't trying to. It is a clever and sincere drama that treats mature adult subject matter the way it should be treated. Not as a joke, but as a basis for ingenuity.