O Centro do Mundo

"You don't *look* like a stripper..." was the first clue. Director Wang, who clearly OK'd Zalman King/Adrian Lyne film style ad and packaging art, was hardly hiding the reality vs. fantasy (or real vs. fake) themes of his superb dot-com romantic tragedy much past the opening credits.

Wang's use of hand-held camera, grainy 8mm, incandescent lighting color wash, high-definition close ups, and assorted traditional noir and verite style cinematography and direction is a breakthough exploration of digital media.

Vegas visitors brave enough to leave their Strip casino/hotel cocoons during daylight hours will surely be struck by the almost surreal difference between how ugly and unglamorous the city is by day and how other-worldly beautiful after dark. Florence, however, is no Vegas...

Get it? Florence (Italy), is *real*, and every flaw she (the city) may have simply adds to the unearthly beauty she emanates. Whether filmed in handi-cam, Fisher-Price pixelvision, or 70mm IMAX, at high noon or midnight, the beauty of Florence (Italy) is timeless and media-independent. At least in the hands of Wayne Wang, Florence glows with or without the lipstick and latex...I mean neon.

Richard's visit to the Venetian Casino/Hotel near the end of the movie completes the tragic romantic (city) metaphor. The "canals" at the Venetian Hotel are truly as pathetic as the film depicts them.

The problem is, these two tragic lovers have always kept a safe distance away from Florence (Italy), or *reality*, and are tragically resigned to a Vegas-reality. Or a dot-com reality...

Filmed digitally and rendered as cinema verite, even duplicating the "grainy" silver halide crystal image artifact of low light film stock with a digital effect extends the film's theme to the medium communicating the artist's expression.

Great film.

I just wish my many shares of homegrocer.com were as valuable as a single used copy of a DVD of this film....or a single apple from an actual grocer.....

"Center of the World" is a very well photographed drama and is highly worth a viewing, but has several flaws.

"Center of the World", an almost mirror image of "Leaving Las Vegas" (better film), is about a computer whiz named Richard's (Peter Sarsgaard) three day escape from his everyday life to Las Vegas with a stripper named Florence (the lovely Molly Parker), who he pays to go with him under the conditions they won't have sex.

But Richard's promise eventually gets the best of him and he begins to obsess about having the best sex of his life with Florence. Florence, meanwhile, holds Richard back with teases and a "Fire and Ice" (Don't ask me) routine off screen.

With each tease, the characters' chemistry builds up and we begin to wonder if Richard and Florence are actually falling in love.

"Center of the World" has beautiful cinematography. The entire film was shot on tape and a few scenes are in one of the best shades of black and white I've ever scene.

Peter Sarsgaard is very good as the naive but extremely polite computer whiz and Molly Parker (although very better in "Pure") pours herself into the tough role of Florence almost as good as Jennifer Connely portrayed Marion in "Requiem for a Dream".

The film does have several flaws though. It has far too many sex scenes (often gratuitous), the chemistry between the two characters blooms and dies at any given time and the surprise ending is almost ruined by two scenes directly after the surprise (you'll have to see for yourself).

"Center of the World" is a good film worth watching once.

It's hard to find a truly erotic movie made in America. Most mainstream films have little sex/no nudity and a whole lot of violence. And what constitutes "erotic art" in films is made up horribly contrived, unbelievable Cinemax/Playboy movies. That lack any real heat and are amazingly unsexy and boring.

So a film like "Center of the World" is a rare gem. It actually is sensual, erotic and the participants in the sex scenes seem comfortable and actually engaged in what they are doing. The scenes do not come off as awkward or simulated. Which is the challenge for any film director. To make the audience believe what they are seeing is real.

What's special here is that a great actress who one would actually like to see do nudity/sexual material, has the lead female role. There's no body doubles here and Molly seems really comfortable with the nudity and explicit sex scenes. She looks absolutely gorgeous throughout the movie. And is not the traditional, cookie butter starlet that is churned out in a 1,001 Cinemax skin flicks.

Hollywood should make more of these films. Unfortunately, I think during this age of "sexual repression" in the arts, our natural human sexual needs will continue to be hidden from view on both the big and small screens.

A digital camera does not a movie make but Wayne Wang didn't rely on avant-garde technique alone when he decided to revisit the basic boy-meets-girl story. He simplifies the problem by choosing two people with very little in common and then taking them out of their natural settings and putting them in the unreal world of Las Vegas. The man is a socially inept but financially successful engineer so typical of our times and his character is developed and portrayed very realistically by Peter Saarsgard in a role very different from what he played in Boys Don't Cry. He's got it down even to the careless dressing and awkward laugh. I know - I work in the Bay Area. Molly Parker is equally convincing as the drummer-by-day-stripper-by-night career woman who has such a cool and invincible air about her that it makes quite an impact in the few occasions when she does let her armor down.

It almost seems as if Wang has taken the Hollywood classic Pretty Woman and has decided to deHollywoodize it. And in that he has been quite successful. The graininess of the Blair Witch style digital camera coupled with innovative shots including unexpected close-ups follow no clichés. Equally cliché-free is the screenplay which follows a loosely linear narrative advanced primarily by the sexual encounters between a man and a woman who are placed in the near-equivalent situation of a desert island and come from different worlds. In this, one can discern shades of Last Tango in Paris, except that this movie is set in a more cynical time where love has been deconstructed and is not worth killing for. Sex becomes the center of their world but even as they escape into sex they cannot quite leave their personalities, their dreams, their insecurities behind and that is what ultimately saves them and their story from the mundaneness of a forgettable sexual encounter. Although they go into into the deal for purely selfish reasons - he desiring an escape from Internet porn and she looking for some extra cash - their encounter, like all good stories, becomes something of a journey of self-discovery.

Mention must be made of the attention to detail which makes the setting very believable. The soundtrack is eclectic and follows the local Californian club scene rather than big label network music. And the dialogue is very boy-girl-next-door rather than being made up of grand lines. However, this movie is not everybody's cup of tea. The lack of a discernable narrative in some of the scenes risks losing the viewer's attention. And there's no simple message or tying up of loose ends here. But those who can brave that and the graininess will be rewarded with a contemporary look at love in our times.

...Wayne Wang's notorious, controversial and explicit "CENTER OF THE WORLD" (Artisan, $.. is a much more polished piece of work than "Romance." It also explores the bleak terrain of emotional isolation. This time the protagonist is a rich internet geek (Peter Sarsgaard) who literally contracts with a rock and roll drummer and part-time stripper (Molly (Parker) for a sexual get-away in Las Vegas. The phoniness of Vegas and the impersonal internet are more than metaphors for what amounts to virtual sex in real life. The basic elements are familiar in countless other love stories, but here the physicality of the two main characters dominates everything. In many ways we root for them to break out of their protective shells and actually connect with the hearts.

Sometimes the walls we build to keep out the bad cuts us off from life itself. This film, shot on high definition video, evokes a more personal and immediate response and is much more effective on DVD than it is projected in a theater. Longing for intimacy but in the grip of a fear of letting go leaves the main characters with only the option of exploring physical sensations as soulless.