Secretary

Maggie Gyllenhaal deserves an Oscar nomination for her brilliant portrayal of borderline psychotic, self-mutilating Lee Holloway, a former mental institution patient seeking to sustain herself - vocationally and emotionally - in a challenging world where she has few safe harbors. She comes from a messy family background although that alone can't explain her illness.

Learning typing, she gets a secretary's job with lawyer E. Edward Grey (James Spader, who also turns in a first-rate, nuanced performance). Grey refuses to have any computers in his very smart, expensive law office. Like many lawyers he's a perfectionist who abhors typographical errors but his obsession with perfection reflects more than an anal personality hitched to a law degree. His solo practice seems to thrive better than his self-control of a suppressed sexuality, awakened by Maggie at first unknowingly.

This is a film about what many consider to be deviant behavior (sado-masochism and bondage-discipline, not your usual Hollywood romantic fun and games) that most will concur is uncommon in the workplace. Director Steven Shainberg and his cast - and Gyllenhaal and Spader carry the film, forget the supporting actors - show Lee and Grey's rocky and developing relationship with candor, without condemnation and without exploitation. The lawyer and his secretary are sexualized in a way few have experienced and those who have don't talk to folks outside their circle.

This is a black comedy/a black drama. It either grabs or repels the viewer: there's no in-between. The resolution? Is it realistic or a cop-out? I'd love to hear from those able to comment from experience on IMDb's discussion board. But I have a feeling few will post reactions.

A very different film that I rate 8/10 on a personal scale where I value the deep and tortured acting projecting the absorbing conflict of this sexualized working (initially) relationship.

Please indulge me while I gushingly discuss this little gem of a movie I saw last night, called Secretary. Yes, I know it was released a while ago, but since my wallet has been bereft of its pecuniary innards of late, I had to wait for the rental.

Is Secretary as creepy a psychosexual office thriller as its trailer might lead us to believe? Yes and no. Chances are, however, if the director has cast James Spader as the male lead, the viewer knows they're in for an unnerving cinematic journey. That said, there is a strong psychosexual current running through this story, but it's far from creepy; if you're occasionally inclined to use film as a means of accessing your emotions and promoting self-awareness, this might be the movie for you.

The story is that tried-but-true formula: self-mutilating girl gets out of a mental institution, returns to her dysfunctional family life, gets a job as a secretary for an anal-retentive, emotionally repressed attorney, and finds redemption and herself in the context of a sado-masochistic relationship. Yawn. How banal! This is a stunning, existential coming-of-age black comedy, and, along with Happy Accidents, one of the best unorthodox love stories I've seen this year.

Relative newcomer Maggie Gylenhaal plays Lee Holloway, our emotionally unstable protagonist. Her performance is revealing and revelatory, a brave portrayal of inner turmoil played with grace and complexity. The aforementioned Spader plays Lee's equally disturbed employer, E. Edward Gray, delivering yet another of his trademark plagued-by-inner-demons characters. I am consistently astounded by Spader's ability to infuse potentially deplorable characters with such intricate humanity that he is able to elicit sympathy and understanding. James Spader is one of our best under-utilized character actors, and thankfully has never allowed himself to be co-opted by the Hollywood mainstream. Cheers, James.

The sado-masochistic element of this film could have easily drifted into self-parody; instead, director Steven Shainberg uses it subtly and without shame as a means of exhibiting deliverance and liberation. In some ways, this film is also a meditation on power and sex roles. Lee's initial willingness to acquiesce to her boss' punitive ministerings could have easily made her a victim, i.e. of an employer, a man and an elder. Instead, this is her gateway into adulthood, allowing her to develop the inner resources to be a self-determined woman relentless in the pursuit of what and whom she wants.

Anyone involved in a long-term relationship knows that an essential ingredient is variable power balance; it's inevitable, despite some people's claims that they have a completely `equal' affiliation. These power shifts help keep romance vibrant, and equally as important, instruct us how to navigate life's rocky travails, resulting in wisdom and self-acceptance. What men often think as strength--stoicism, aloofness, obstinacy--are, more often than not, actually weaknesses, leading to ignorance, avoidance and ultimate demise. Paradoxically, it's in complete vulnerability where we actually discover what we're capable of, being able to develop emotional resilience and learning to express desire, sexual or otherwise. Gylenhaal's Lee Holloway crystallizes this vulnerability-as-strength concept beautifully, making an appealing case for growth by any means necessary. Shame is often self-imposed, and convention can serve as prison. Ultimately, each of us must choose our own path to self-actualization, and it's legitimate if it works for you.

Conversely, Spader's growth stems from actually succumbing to Lee's powerful will. His apparent `dominance,' in the end leads to his submission to her insistence that they be together. Ultimately, both benefit from the relationship, as an audience can benefit from viewing this unusual, luminous film.

9/10

'Secretary' deals with a daring and original subject and does this in an effective and funny way. Its subject is sadomasochism, its genre is a romantic comedy. The secretary is Lee Holloway (Maggie Gyllenhaal), who suffers from self-mutilation, her boss is Mr. Grey (James Spader), who seems the coldest man alive. When they are in the same room you feel that there is something there, they both feel it too. Since the movie opens with a certain S/M scene we already know that there is a point in the movie where the two must find each other and start the sadomasochism activities. I will not reveal how and when it happens, but the moment is great.

Saying too much about the story would spoil things. We laugh at the right times, which is a good thing. Considering the subject it is even hard to accomplish that since people who are not familiar with it laugh very easy when they see strange things. For most audiences the events will be strange. The original approach of the movie, the performances perfect for this movie, the funny moments and an ending that plays exactly as it should this is a good movie and one of the most original romantic comedies I have seen.

What is the path to love? For every person, it's different. The superficial circumstances are similar... you meet someone at work, at school, in a singles bar. And, usually, the emotional pathways are similar. Eyes meet. We talk. We dance. We communicate about ourselves to each other. Then begins the sexual part, so we parry and thrust, take signals from each other, and, over time, we feel each other up together. But what about the path to love through the back door (so to speak)? What about a love story where she's a young, neurotic woman, just out of a mental hospital back to a family where Dad's a serious drunk and Mom's a serious nervous fruitcake. And what about a man, an attorney, who's emotionally closed off and can only get in touch with orchids, inserting long stainless-steel tools into their waiting organs. Yes, these two find each other in one of the most bizarre cinematic love stories ever.

I loved this movie. I pilgrim around, searching through books and movies for secret pathways to and circumstances of the human heart. This movie transcends its gentle S&M to reveal yet another way to love.

Our heroine, the fresh-faced (and magnificently moon-like) Maggie Gyllenhaal is brilliant as the new secretary to a lawyer who goes through so many secretaries, he has a "secretary" vacancy sign he lights up outside his office. As our heroine tries to re-enter the world by getting her first job with this man, it becomes apparent that the boss is anything but normal. He is demanding yet insistent that his new charge break away from her stifling past and be herself. But what or who is she? And who in the hell is he?

The movie is sexy. There's no denying it. Gyllenhaal is radiant and sinuous, and we feel that she's truly experiencing the wonder of it all for the first time. Spader is type-cast a bit, but his world-weary sexiness fits well with Gyllenhaal's naiveté. And, let's face it, Gyllenhaal is grippingly sexy, and we see her in hose, panties, tight skirts and in the nude. And as far as I'm concerned, she's fabulous, darling. And in one of the movie's sexiest, most endearing scenes, we see Spader carry her off in her urine-soaked wedding dress as he finally assumes his responsibilities as her loving "dom". She is totally tired, subservient and radiant in total surrender, rescued from a voyeurizing world. What a hunk of sexy cinema that was with her arm languidly draped around Spader's neck as he carried the bride over the threshold to love and dominance. Wow.

This movie explores and explodes sexual myths. The director has successfully created a dark comedy layered with nuance in a stew of social commentary. This movie is not for everyone. Stay away if you're conventionally wrapped, conservative, or lacking in a certain joy of exploration. But if you're ready for a most untraditional-traditional love story, Spader and Gyllenhaal give Oscar worthy performances... but of course the subject matter nixed that.

I may be a jaded old cynic but from time to time a contemporary movie knocks me off my seat. Recently there's been quite a few -'May', 'Sympathy For Mr. Vengeance' and 'Auto Focus' immediately spring to mind. 'Secretary' is another recent gem. This is the most original romantic comedy (very black, mind you) I've seen in YEARS! And for something which deals with a lifestyle alien to me (dominance and submission) it's surprisingly touching, and even managed to get me to shed a tear or two. I had previously enjoyed Maggie Gyllenhaal's supporting roles in 'Donnie Darko' and John Waters' 'Cecil B. Demented' (she played Raven, the make up artist - "Pain is pleasure! Slavery is freedom! Suicide for Satan!' remember?), but her performance here is first class and is guaranteed to turn her into a major cult figure if not an actual genuine STAR. I confess that I now have a major crush on her to boot (I'm sure I'm not alone!). James Spader is also very, very good. While I admired him appearing in Cronenberg's 'Crash' a few years ago most of his other film choices have been safe ones and to be honest I'd pretty much given up on him as an actor. But it just goes to show what an actor is capable of with an innovative script and a supportive director. It's really difficult imagining any other two actors playing these roles any better. In the supporting cast Jeremy Davies also surprised me. I'd been getting a bit tired of his crazy shtick in previous roles, especially his extremely irritating performance in 'The Million Dollar Hotel', but he did a much more subtle job in this movie, and it really worked for me. This is my first experience with director Steven Shainberg but I was impressed. I now want to try and see his previous movie, the Jim Thompson adaptation 'Hit Me'. I also look forward to his next movie, because if 'Secretary' is any indication of his talent then he's sure to come up with something very special. Highly recommend.