Secret Things

Two women who work at a bar decide to use sex to get what they want from life. While they become very successful, things also end up taking a turn or two that they didn't expect. I liked this very adult movie very much. This is a very sexy movie with some very likable women as the leads. The prospect of using sex as a means to an end is of course a way of life for many people, both male and female, and here we see it in action. Watching it I was surprised by how the film didn't go in the directions I thought it would and was pleased that it wasn't this dark noirish tale that cover art seemed to imply.Actually as I was watching the film I was struck by how much this film reminded me of Exterminating Angels, another off beat, but in a good way, French film about a director trying to get the right women to perform sexually for a film he was doing. When I checked IMDb after watching Secret Things I found that the director for both films was the same and that the process of making Secret Things was the inspiration for Exterminating Angels. I can't wait to have a double feature. A great deal of nudity and sexual activity, so keep this away from the kids. Recommended.

[S P O I L E R S]

Either because they were too shocking, or too bad, or just too French, Jean-Claude Brisseau's previous nine films (some just done for TV) haven't made it to the US. Choses secrètes (Secret Things) is having some limited distribution here. The film seduces initially with its intelligence and its elegant look; then it betrays us with tendentiousness, tedium, and numbing excess. If you loved Luchino Visconti's The Damned or Pier Paolo Pasolini's Salò, you will have to see this. If you respected Kubrick's Eyes Wide Shut, you may want to consider Choses secrètes, which some think does its moral consideration of sex and its orgy scenes better.

Whereas Dangerous Liaisons (the Choderlos de Laclos classic as well as its various film adaptations) involves the plot of a man and a woman to demolish a powerful and wicked female, this film involves two women out to get men in general. Brisseau's Nathalie (Coralie Revel), a stripper, coaches Sandrine (Sabrina Seyvecou), a barmaid, on how they can both become powerful through exploiting their own sexual daring. They've just been fired - literally thrown out on the street - from the club where they both work for refusing to have sex with customers afterward. Nathalie persuades the naïve, penniless Sandrine to move in with her and next day outlines her plan for the two of them to conquer the Paris business world.

This is all to be done through sex, and from scene one, there's plenty of masturbation -- orgasms, real or faked, come as often as explosions in action flicks -- and plenty of nudity, but only female in each case. Nathalie's simplistic, rather old-fashioned rule is that if they can give themselves pleasure, they need never be enslaved to any man. The typically French rationality of Nathalie's exposition of her plan undercuts the obvious softcore aspects of the film - for a while, that is.

And so does Choses secrètes' splendid appearance: the beauty of the two young women is set off by handsome cinematography and a generous use of sumptuous, richly colored drapery that makes the décor a pleasure to look at. One wishes American filmmakers could generate effects of taste and elegance with such simple means. But there is more to cinema than the visuals and this movie begins to seem little more than a Vogue shoot.

Wilder and prettier: that's the two girls' selling point. On the strength of a certain provocative appeal, we're to believe, they're hired at a major financial corporation, Nathalie in personnel, Sandrine in the top administrative office. Again the film's seductive: the sudden rise may be far fetched, but you want to see what happens.

Sandrine follows Nathalie's instructions and rejects a younger executive who wants to marry her: a big mistake; but she sticks to the program. Instead of dating the sincere young man, Sandrine seduces Delacroix, the firm's married, bored fifty-year-old (but handsome and lean) manager. Delacroix falls hopelessly in love. Sandrine fakes everything. Nathalie ignores her own rules and has a secret lover who hurts her. We have to guess who he is; but it's not hard: we know that Christophe (Fabrice Deville), the aged, ill boss's son, who's heir to the corporate fortune, is a gorgeous seducer who's literally driven women to commit suicide right before his eyes - and enjoyed watching. Christophe has a preposterous back-story to explain his moral emptiness.

Things go rapidly downhill when this monster of evil begins to dominate the scene. It doesn't help that the slightly corpulent Christophe looks more like last year's model than a real person. Looks and sound effects have started to take over Choses secrètes at this point. There haven't been such scenes of elegant depravity since Visconti. But there are too many orgies with Bach and Vivaldi masses played at top volume for background. It's over the top: the film self-destructs before one's eyes. And the old-fashioned moral tale - replete with blatant titillation over the `hell' it depicts - morphs into an increasingly tedious and surreal scenario. There's an angel of annihilation, a face transfixed by death, a bird of prey pecking at a bleeding chest: we're on the wilder fringes of the French imagination. Cocteau did this sort of thing much better.

In a final scene several years later Nathalie and Sandrine, now on separate paths, have a brief final meeting. One has a wholesome life and the other has become a pampered princess: using a stretch limo to suggest the latter's wealth was a genuinely bad idea. Both women look exactly the same as ever: like this year's models. The movie has completely disintegrated. There is nothing left to care about.

But I did love the drapery in Nathalie's bedroom. It promised better things.

For an infinitely smarter and ultimately more chic French film about love games, if you don't want to go to the source, de Laclos' Dangerous Liaisons and its film versions, rent a copy of Benoît Jacquot's School of Flesh (L'École de la chair), with Isabelle Huppert at her most sublimely disdainful. Nathalie and Sandrine combined aren't fit to dust her shoes.

"Secret Things" is about two beautiful young women, a stripper and a barmaid, who find themselves unemployed and decide to use their sex appeal as a tool to get on the fast track to success in the corporate world. Their scheme works well until they run up against a man who is even more cunning, ruthless, and base than they are. "Secret Things" opens with a nude autoerotic dance and appears to being going somewhere until it self-destructs in a crescendo of ponderous nonsense. The sagacious female protags become clueless dupes, the male antagonist turns into something so perverse it's almost funny, a black veiled figure with a bird appears and hangs out like some sort of specter, and the film quickly loses its credibility. "Secret Things" is chock full of sex which is obviously staged and the psychodramatics simply aren't believable. A coulda/shoulda been better example of when less would have been more. (C+)

Sexual politics in the workplace are nothing new to the movies. It can be terrific stomping ground for social satire. But, rarely have I seen it given a worse treatment than in Jean-Claude Brisseau's good-looking but shallow SECRET THINGS.

Two French hotties, Sandrine and Nathalie, are booted from the bar where they both work for refusing to have sex with a patron and defending that decision, respectively. Soon, they're moving in together and engaging in an endless series of sexual exploits themselves to prove they aren't like everyone else. If they can screw in public and get away with it, what _don't_ they have the nerve for? Both women are unemployed, and both have healthy sexual appetites. Why not use what they have to get what they want -- in this case, climb the corporate ladder? It's a logical step, I guess. But, then Sandrine seems perfectly competent in her new job without the sex stuff. Sure, all the men want her, and without having to so much as flash a smile their direction, she's on her way to being promoted. So, why the insistence on manipulating men, too? I mean, aside from the bar incident, have they been wronged in some way? What makes these women tick?

The film doesn't quite know, and it _has_ to. Otherwise, it's just sex scenes strung together in no discernible order for no apparent reason other than to be titillating on top of intellectual. Only, it isn't either, really. It's far too talky, for one thing, and it doesn't make a great deal of sense; someone please explain to me why there's a wedding in this film. If not for the occasional display of the female form in all its glory, SECRET THINGS would be unendurable. The overheated episodes between Sandrine and Nathalie (mostly the masturbatory variety) are energetic but redundant, and there's an EYES WIDE SHUT-esque orgy scene that comes out of left field, for no apparent reason other than two minutes have gone by without a sex scene. Then again, this movie hits narrative bankruptcy long before. And the ending, if you can stay awake long enough, is absurd.

SECRET THINGS is not nearly as brazen or interesting or complex as it thinks it is. I don't have the energy to hate it, nor would I waste it if I did. The projector stopped about three times throughout an interminable hour and fifty-minute running time; I wish it had stopped more.

The opening scene in Secret Things slams you with its voyeuristic impact suggesting that this is a soft-porn exploitation in someone's private bedroom; however, the scene turns out to be an autoerotic exhibition onstage in a bar in Paris. Nathalie (Coralie Revel) is a gorgeous exotic dancer headlining in a dank bar in Paris. She is fired after a tiff with the calloused owner together with a naïve bartender Sandrine (Sabrina Seyvecou). The two ladies vow not to be used by men again. Nathalie encourages Sandrine to loosen her sexual inhibitions to get more out of life. She instructs Sandrine how to awaken her sexuality both in the bedroom and at public places such as a tunnel in the Metro. The pair decides to room together and scheme on how they will better their lot in life by using men to climb the ladder of success and become free spirits.

After the ladies land a job at the same firm, they plot on how to advance their positions using their sensuality as a manipulative tool. Nathalie quickly maneuvers a job as personnel assistant and Sandrina is now an executive secretary. Sandrina, currently an apt pupil in sexual prowess, manages to manipulate her superiors until she finally lands a position as secretary to the main supervisor. This formerly monogamous married man, who is twice Sandrine's age, falls madly in love with her to his detriment as they secretly hump their way across the screen both on the job and at other more acceptable venues. Sandrine flagrantly uses him to advance her career, yet plans on dumping him once she conquers the young CEO, a handsome and clever womanizer.

As the affair with her boss hardens, she begins to back off and he becomes more desperate to possess her. Nathalie on the other hand has fallen hard for an unrevealed lover, who apparently has dumped her. Sandrine attempts to console Nathalie and ultimately winds up in the sack with her. Now the plot begins to deteriorate as the newfound freedom they were both relishing begins to erode. Trapped by the amorous attention of her boss, Sandrine now imposes upon him to promote Nathalie to their office where they eventually indulge in a ménage à trois. This scenario further crumbles when the three are discovered in hot embrace in the restroom by the young stud of a CEO, who is even more Machiavellian than they are.

The plot now totally disintegrates into a banquet of ruthlessness, group sex, lesbian sex, three-way sex, and masturbation. Our heroines, now suffering much more than they did before they decided upon their quest to manipulate men, go along with the bizarre program foisted upon them. The story unfolds into some off the wall twists and unexpected ironies. However, when mixed with the continual bombardment of sexual exploitation, it adds little to the theme of the story. The film appears to take away more than it provides.

The first three quarters of the film are fun and interesting as we observe the women taking charge of their lives and maneuvering through office politics. The movie eventually falls apart dropping to the level of a soft-core porn movie, without rhyme or reason until the plot regresses to something secondary to the sexploitations. The director, Jean-Claude Brisseau presents quite a banquet of sexuality, turning on both men and women audiences throughout the film, while maintaining a nice balance of story and visual indulgence. This picture, in French with English subtitles, is deftly crafted so that you easily forget that you are reading everything instead of listening to the dialogue. Nathalie is so stunning and sexual on the screen that it is by itself well worth the price of admission. It is too bad the story falls apart in the third act; nevertheless, I would still recommend it for its visual arousing energy and remarkable premise.