Secretary

This one was really a pleasant surprise. I was expecting a black comedy as well as a movie that deals with kinky fetishes. It's both of those things but, surprisingly, it's also a very nice and sweet love story. Yes, really. Maggie Gyllenhaal is wonderful. I think this is easily my favorite role of hers. She's funny, adorable, and sexy. James Spader's great but Maggie really makes the movie something special.

Obviously not for all tastes but I would say that you should try it out, even if the BDSM stuff doesn't float your boat. I think you'll be surprised at how much you like it. One thing that I would like to address is that I see a lot of other reviewers who liked the movie saying they hated the ending. Gotta say I can't disagree more with this. I assume these people would have preferred a more downbeat ending. Frankly, that would have ruined the whole experience for me and I would have subtracted points from my score. The fact that the ending left me with the warm fuzzies is a large part of why I enjoyed it so much.

Secretary is the first of its kind - a very dark love story. First of its kind in that it deals with themes never seen before seen in mainstream Hollywood cinema - S&M, sexual dominance and submission.

Maggie Gyllenhaal is outstanding in a potential minefield of a role - she handles it with dignity and even provides some effective dark humour.

The story here is that her character, Lee, applies for a job as a secretary for the firm owned by James Spader's brilliant Mr Grey. However, Lee has a history of self-harm and masochism and Grey has a dominance complex along with a very sadistic streak. Combine these 2 in theory and you have 2 very happy people. But this is no ordinary love story...

Spader, as stated, is brilliant. He brings an icy steel to the troubled Grey, but also provides a touch of black humour which comes at some great moments to 'release the tension'.

For the themes supplied here you'd probably expect a lot of raunchiness - well there are sexual moments, of course, but there is nothing gratuitous, which is in itself an achievement and well handled.

Overall it's quirky, off-beat, and a little bit different.

Worth a view.

Those Gyllenhalls, they sure can act. Maggie, like her brother Jake, turns in great performances like they're routine - she makes it look easy. In 'Secretary', she delivers a layered, complex performance as Lee Holloway, a disturbed young lady who deals with stress by cutting herself - the pain pushes away everything else that's bothering her.

As she's released from an institution back into the world, she takes her first job as secretary to lawyer E. Edward Grey, played by James Spader. From then on, the movie explores their relationship and how it affects Lee, taking her from the quiet, self-damaging wallflower into the determined and strong woman she becomes.

The film's use of S&M in the relationship between Lee and Mr. Grey makes it a bit controversial, but it's not really the focus here. The idea of Lee as the submissive and Mr. Grey as the dominant have little to do with their sexuality and everything to do with their personality issues.

Lee can't handle extreme emotion without resorting to pain, because she can't take control of her own life. What she sees in Mr. Grey is love - absolute love, the likes of which she can't find with her fiance Peter (Jeremy Davies). That love allows her to give him the power of her pain - by doing that, she's finding something worthy to focus on instead of the nothingness of her sewing kit and iodine.

Mr. Grey, for his part, is a man who can't deal with anything except in his own ordered, regimented way. He cares for his orchids but little else, and the steps he takes with Lee open up his wary heart. He's slower to develop than she is, and to take the final steps towards a real, lasting relationship, he has to be dragged there by the force of Lee's own will.

The key to this film - and S&M relationships in general - is that Lee (the submissive) has all the power, not Mr. Grey (the dominant). She sets the terms by which the relationship will be conducted, seemingly for the first time in her entire life (including the relationships with her family). Lee finds love and desire in Mr. Grey, and pursues it while healing her own shattered psyche in the process.

Maggie Gyllenhall is luminous here. She can say more with a facial expression than most can in a Shakespearean soliloquy. She gives herself completely over to the part, without a wink or a nudge that she's just kidding, or thinks any part of this is silly. She becomes Lee Holloway, which is the best compliment you can give an actor. Spader, for his part, follows in a long string of oddballs, but doesn't go over the top, as he could have been tempted to do. This is Maggie's movie, and he supports it and plays off it well.

Rating: 8/10, based on the strong performance of Maggie Gyllenhall and the character of Lee Holloway, but nocked down due to a poorly-constructed finale that just doesn't fit with the rest of the film. Highly recommended.

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

Lee Holloway is released from the mental institution on the same day as her sister's wedding and finds her family are just the same and it is not long before the urge to self-harm overcomes her. However in finding work as a secretary she looks to get more meaning in her days. She joins the one-man law firm of E. Edward Grey and enjoys the work even though he is a distinctly odd man. As their working relationship develops though, Edward's attitude becomes more and more dominant, eliciting an unexpected response in Lee.

Although it was sold off the back of the salacious material and offer of dark sexual comedy, Secretary is actually a nicely ambiguous character piece that looks at the development of a submissive woman and the conflicts within a man who takes pleasure from S&M. It is nowhere near as shocking as it was marketed, nor does it try to force things to the detriment of the characters. I wasn't sure what to expect but found myself easily taken into the film through the two characters because of how well written it was. I'm not into S&M and have no knowledge of that world but yet the film made the feelings and emotions of the characters easy to access and understand (and even if relating to them was beyond me, it was to its credit that the film never asked this of me). Shainberg's script deserves a lot of praise but his direction is also good in the way that he keeps much of the film ambiguous and intriguing.

The cast respond really well to this. I say "cast" as if it is group effort but it is really a double-hander from a talented pair. Spader is very good and manages to make a character out of what could easily have been a weak part of the film. He is convincing and has the complexity that one would associate with someone with an "unusual" fetish. Gyllenhaal is better as she develops her character across the film and seems to have totally understood who she is trying to be. Although their scenes were potentially challenging, their performances are strong enough to make them work well.

Overall then a film that is understandably select viewing with a subject that may put some off. However it is actually much more accessible than it appears at first glance because of how well the characters are written by Shainberg and realised by Spader and Gyllenhaal.