9 semaines 1/2

I think most people don't understand this movie. This is not a love story, at least not in the conventional sense. "9 1/2 weeks" is about sexual desire and intimate sensuality run amok and becoming the monopolizing forces in a relationship, and the ultimate demise of that relationship as a result. Certainly the physical pleasures and sensuality of sex are aspects that make a relationship fulfilling and gratifying but they are not the only facets. A relationship purely based on sexual desire is doomed to failure. At first it seems like a game, but later on the intensity is too much for the relationship to withstand, largely because if love and caring are sacrificed for the sex, it will die.

You almost couldn't find more suitable casting than Mickey Roarke and Kim Bassinger. Roarke plays John, a sexually-driven finance executive who is not satisfied with winning over the woman he wants. He craves continual heightened sexual excitement from his "lady friend". And he uses subtle coercion to achieve his goals. For Elizabeth, played by Bassinger, John is the ideal lover. He makes her breakfast, buys her clothes, brushes her hair. He takes care of her in an interesting role reversal. But nothing is free. In return, John wants Elizabeth to be in his complete control and engage in sensuous sex games. And each game is more intense than the last.

At first the games seem innocent enough. He likes to blindfold her and play a touchy-feely game in which he introduces objects that she feels and/or tastes. But then the requests become more intense. He wants her to enact a strip-tease, to dress in a certain way without her consent, and to receive a spanking for being a "nosey parker". They have sex in the oddest of places, sometimes engaging in intimate contact in public. At first Elizabeth enjoys the attention and the excitement until she begins to lose the sense of herself as the relationship intensifies. And John eventually goes too far.

At one poignant moment in the film, Elizabeth speaks with an artist-recluse. Because her job is at an art gallery, she helps coordinate artists for exhibitions. When she finds him in a rural area, she asks him if he remembered that his exhibition is coming up. He replies that when he is hungry he remembers to eat and when he is tired he remembers to sleep. She has lost the simpler pleasures of life, and this old man reminds her of that.

Late in the film there is an interesting scene where Elizabeth's former boyfriend comes to the place she works--not to see her but he is now dating one of her co-workers. He's a plain man who does not have nearly the sexual allure of Roarke. But he seems kind and honest. Liz watches her co-worker and her former boyfriend leave and there is an expression on her face that speaks volumes: maybe she misjudged him after-all. For a moment, the two stare at each other from a distance, and you get the feeling that she was the one who left him. He is not the Mr Exciting that John is, but maybe he has other qualities that John could never have.

This is quite a stunning film, certainly not for all tastes, and some of the steamy sex scenes could be misinterpreted as being only for pornographic sake. What saves it are the incredible and absolutely believable performances by the two leads, Roarke and Bassinger which strangely complement one another. Roarke plays his character right on the money, always enigmatic, never raising his voice, but always mysterious. His character is always just outside of reach. He constantly smiles, even when he is noticeable disappointed. Basinger is a perfect complement as one of the few actresses left who can be vulnerable and elicit a willingness to be under control that you don't see in many female performances anymore. Despite what may appear to be pornography, there is a point to the film I think, and that is that constant sexual control and nurturing relationships mix like oil and water. In the end you wonder if it was all a game.

Although generally rubbished by critics because of the two lead actors, among other things, this was an interesting film in that it attempted to be artistic, something of a rarity for Hollywood. Much of what is presented was designed to look sexy, even if it was unlikely to be if you tried it yourself. And to give it its due, those responsible for art direction and cinematography did a pretty good job and it stands repeated viewings to pick up on nuances missed first time around. It is tantalizing but not especially erotic; a lot more is suggested than actually happens. Anyone who can remember working in an office in the 80s will relate to the telex machines, phones with bell-rings, and no desktop computer for the manger, and no mobile phones. The 80s apartment decor and fashions will also jog memories.

I have seen this movie many times. I find it to be, not a sexual movie. It does have depth and symbolism if you are able to get passed the simple sex scenes. My favorite part is when Elizabeth goes to visit Fransworth, the artist.If you really think about it just as he is at the gallery opening of his show, so is she "a fish out of water".It can't survive and in the end neither can she.I love the way this film was shot.This movie is more about stepping out side your comfort zone. You know about her family and life, but you don't learn about his until it is to late.People need to get passed the sex scenes and realize this movie is about human limits.All of us feel this inside, but are afraid, like Elizabeth to try it.

I am very surprised reading several negative reviews about this movie. Probably this is not a movie made for the American audience, which many times react in a bad way when a movie push a little bit too much the envelope. This movies was a very big hit in Europe when first came out. It was the most talk about movie of the year because of his extremely unique and modern approach to sexuality in a film. I was very young when this movie came out, but i still remember the big fuss about it. The director is one of the best director, he challenged himself constantly, his movies are never boring or dull and he like to take chances which many directors are very afraid to do it. Nine and 1/2 weeks is a very interesting movie to watch, because it is about what is going on between this 2 people, in an emotional level. Which can be pretty scary for the intensity of that. It is not about sex, it goes beyond that. It is a very innovative movie that it would always be remembered for changing the rules about making movies that are considered erotic. Too bad that not everybody is Adrian Lyne, and the majority of the films of this genre are horribly bad.

This memorable sexual drama is an adaptation of a novel by Elizabeth McNeill. Kim Basinger stars as a character named Elizabeth, a divorced art gallery worker. One day, she chances to meet John (Mickey Rourke), a charming young Wall Street financier. She finds out that he likes to play sexual games, and realizes that she's vulnerable to his manipulations. Ultimately, she finds this strange relationship taking dominance in her life.

"Nine 1/2 Weeks" is a largely two character film that is not degrading or "pornographic" as some people might have you believe. It's actually rather restrained, and even in its full length uncut version is never overly concerned with nudity or depravity. This may come as a disappointment to some potential viewers, but most of the time it's concentrating on detailing the evolution of this sex-based relationship.

Unfortunately, we never get to know our two principals all that well. But since she has more to work with, Basinger definitely comes off better. Rourkes' character forever remains an enigma. Also, for a film running close to two hours, it doesn't seem to have all that much story going for it.

The sex scenes will stick in the mind, even if most of them aren't particularly imaginative. The exception is the notorious "food" sequence, which was later parodied in "Hot Shots!". But the choice of song in the sequence kind of kills the mood.

Basinger looks positively ravishing throughout - the camera loves her - and she delivers an appealing performance. Familiar faces turn up - Margaret Whitton, David Margulies, Christine Baranski, Karen Young, Julian Beck, Dan Lauria, Ron Wood of The Rolling Stones, etc. - but the supporting cast has little to do in the grand scheme of things.

Fairly interesting but not all that successful, this marked a stepping stone for former actor Zalman King (who co-wrote and co-produced); he went on to a prominent career as a soft core auteur.

Six out of 10.