Secretary

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.

'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.

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.

In this romantic black comedy, Maggie Gyllenhaal stars as Lee Holloway, the lady worker of the title. As you probably already know, this secretary doesn't just push pens and use paper clips, she has another, more exciting capacity as her boss's love object. The film actually isn't quite as naughty as many people think it thinks it is, but the truth is that the sadomasochistic area of the film isn't really all that important. The film isn't really about obscure sexual preferences, it's about finding someone whom you are comfortable with and the S&M is just a means to an end. The sex aspect of the film does serve a purpose, however, in that it's that which makes the film a social satire of this culture of flirting in the office; a very over the top one, that is, and one that gives the film it's shock value; but to be honest, you don't really get to see that much bondage. The film is very original in it's portrayal of S&M however, as it's a very taboo subject and for it to be portrayed in a sweet and upbeat manner like this is welcome and very different.

As mentioned, Maggie Gyllenhaal takes the title role and starring opposite her is James Spader as her boss. Gyllenhaal's character is sweet, inexperienced and bashful. She's very easy to like, but she can also be annoying at times. Spader's character is the complete opposite; despite being insecure, he comes across as being cold, calm and collected. He keeps his emotions hidden inside and reveals very little about himself, unlike Maggie's character who is happy to wear her emotions on her sleeve and doesn't seem to mind what other people think. Observe the way that the boss continues to tell her to put her shoes on because her feet stink etc; not exactly the most conscientious person to ever walk the earth. Despite being chalk and cheese, however, the two characters blend together in a way that is both believable and interesting, and this makes for some great chemistry between the two leads that is hard not to enjoy. The fact that they are chalk and cheese is a help and not a hindrance to the film as it serves in making it all the more interesting. My only quibble with the characterization is the ending, which although it brings the message out, seems tacked on and rather unrealistic…but it's not enough to spoil the film.

Overall, Secretary is not a masterpiece, but it is a very good portrayal love, and one that is far superior to dull and dreary films such as 'Lost in Translation'. It's entertaining for it's duration, there are several funny moments and the central message, which states that it's worth going to extremes for the one you love is a worthwhile one for any movie, even if it is someone lost under the premise of the movie. 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