Category Archives: Eroticism

Fifty Shades Better

The sequel to Fifty Shades of Grey was the big Valentine’s weekend movie for 2017. In it, billionaire Christian Grey renews his S&M relationship with Anastasia Steele. I wasn’t a fan of the first movie. It was a huge missed opportunity. James Foley, director of Glengarry Glen Ross, has replaced the original director and his steadier hand makes for a better movie. There’s a new screenwriter also and it feels dramatically tighter, funnier and just a better movie overall.

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The first Fifty Shades film should have been the Basic Instinct of its generation but it completely wimped out to get a cash-friendly lower age rating. In one scene, Anastasia says to Christian: “Show me how bad it can be” (or words to that effect). He smacks her six times really hard on the ass (anyone who has been near an internet connection in the past two decades will know that that is very, very far from the worst it can get). Ms Steele’s face contorts into floods of tears. “Never do that to me again!” she howls. (She just told him to do it to her! Idiot.) Although this is based on a trilogy of books and they might have needed to pace the franchise. If they had gone full-on in the first one, there’d be little wiggle room left for the sequels.

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Despite being dubbed “mummy porn” by the British press, Fifty Shades of Grey began life as Twilight fan fiction. Christian Grey began life on the page as Edward Cullen the vampire. There are flashes of Grey’s dark vampire origins in Fifty Shades Darker. A damaged former submissive of his starts jealously stalking Anastasia Steele, a paradigm of what the future could hold for her if she continues exploring Grey’s “kinky fuckery” with him, as Ms Steele calls it. Grey appears to be an energy vampire, sucking the life out of females that cross his path, destroying them and discarding them. That was good writing there.

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There is inconsistency in the writing of Anastasia Steele in Fifty Shades Darker. On the one hand, she’s this ordinary girl who is out of her depth in a naughty relationship with this rich chap. On the other, she’s this ravishing beauty that a billionaire and her boss fight over (Grey even buys the publishing house she works for. Helen of Troy she ain’t), while everyone else tells her she’s the most gorgeous girl in the world. So which is it? Is she a struggling ingénue or this beautiful girl used to such attention all her life? That doesn’t make sense. Then again, the whole thing is a female fantasy and not a documentary. If you’re looking for logic, put on the Discovery Channel.

E.L. James gives her heroine a job in a publishing house. There’s a handy movie job for ya. No research needed there, James already knows the publishing world well. Even so, that whole section isn’t very convincing. It’s lazy writing.

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Julia Roberts as a hooker in Pretty Woman

Fifty Shades peddles a similarly dangerous Pretty Woman notion in that it suggests that getting involved in degrading sex will lead girls to their rich Prince Charming.

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(Kim Basinger appears in Fifty Shades Darker as the baddie. She was also in 9½ Weeks with Mickey Rourke in the 80s; arguably the spiritual movie grandparent of Fifty Shades. That was about a similar kinky relationship and showed the reality of the situation – bondage only leads to more numbing bondage. The woman doesn’t get to change the guy into a vanilla version of his pervy self as happens in Fifty Shades Darker. Strangely, after Christian Grey tones down his act, Anastasia suddenly announces “take me to the Red Room!”, Grey’s whips-and-chains dungeon. This chick doesn’t know what she wants other than wanting to have her cake and eat it too like E.L. James)

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On the other hand, it’s an anti-feminist message to acknowledge that some women enjoy bondage and letting men take control sometimes (some men enjoy it too). To deny it or repress it is censorship and a denial of freedom.

The sex scenes while they are well shot, lit and blocked out, feel perfunctory like the actors are just going through the motions. There’s little eroticism in them, that frisson that elevates the whole thing. Writing sex in books and for the screen can be difficult to do, you’re always going close to the line of humour; too much and it’s a laugh riot, not enough and it’s no good.

So, yes, I’d just about watch a third Fifty Shades movie, but let’s hope there’s not a fourth. We need to stop playing around in the grey areas…

© Stewart Stafford, 2017. All rights reserved.

 

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Loving The Alien

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Star Wars is the fairy story and I was going to do The Texas Chainsaw Massacre of science fiction,” said director Ridley Scott about Alien (1979).

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Director Ridley Scott on the set of Alien with Sigourney Weaver.

There were vague suggestions in the script as to what the creature looked like. Screenwriter Dan O’Bannon gave Scott a 1978 book by Swiss conceptual artist H.R. Giger titled Necronomicon. Giger had an incredible and unique surreal style with pages and pages of grey, suffocating, biomechanical erotica. When Scott saw one of the many creatures in Giger’s book, he knew he had found his monster.

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Hans Ruedi Giger at work

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The creature collapses many of our darkest sexual fears into one beast; its phallic head and tail, its erectile teeth and slavering mouth with two sets of jaws that recalled the vagina dentata (the folk myth of toothed female genitalia that goes back as far as Ancient Greece). So the creature was at once alien yet oddly familiar in subtle, subconscious ways.

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The alien has a life cycle straight out of a biology book. The creature begins life as one of the many eggs Kane (John Hurt) finds on the alien planet, the face-hugger leaps out of the egg, wraps itself around his head and implants its seed inside his throat (the first of several oral rapes in the film; Ash the android later malfunctions and tries to shove a rolled-up porn magazine into the mouth of Sigourney Weaver’s heroine Ripley). The writers apparently based this on a species of African wasp which lays its eggs underneath the skin of humans. The alien “foetus” grows inside Kane until it explodes out of him as the chest-burster and hides out in the ventilation shafts of the vast Nostromo spacecraft. The alien rapidly sheds its skin like a snake and grows in size to become the eight-foot tall adult.

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Perhaps because Ridley Scott is British, there’s a class element to the hierarchy on board the Nostromo spacecraft. Screenwriting guru Robert McKee says Scott uses “stepdown imagery” in the living quarters to make it seem blue-collar; mementoes like the shot glass with the toy bird pecking in it and family photographs show us a crew of interstellar truck drivers light years from home, missing loved ones and complaining about pay and conditions.

It has been said that Alien, like the slasher movies that were popular around the same time, stole the plot of Agatha Christie’s Ten Little Indians where a group of characters are confined in one place and get bumped off one by one. Where the slasher movies and Alien inverted that structure was a plot device called The Final Girl – the female survivor who outlives her peer group and kills the monster or appears to. Ripley is the final girl in Alien. The key difference is that slasher films are set on earth with friends, family, neighbours or the police to call on for help. Ripley is totally alone in the depths of space and working for a company who think she’s expendable. There are no humans around for millions of miles and no one to hear her scream, which made it infinitely scarier.

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Mary Wollstonecraft Shelley

Nineteen-year-old Mary Shelley is credited with creating the genre of science fiction with her 1818 novel Frankenstein. The feminist theme of that book is that when men create life, they create monsters and Alien essentially has the same theme as the creature is born of man. So Alien is a very clever reworking and reinvention of basic horror and sci-fi themes for a modern audience.

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© Stewart Stafford, 2017. All rights reserved.

Last Tangle With Marlon

A social media storm has blown up in recent days about a simulated rape scene from an old movie from 1972 called Last Tango In Paris.

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It starred a then 48-year-old Marlon Brando as Paul, a middle-aged man having a desperate fling with a 19-year-old-girl after the suicide of his wife. There is a scene where Paul rapes Jeanne (German actress Maria Schneider) and uses butter as a lubricant. Director Bernardo Bertolucci said: “I wanted Maria to feel – not to act – the rage and humiliation. Then she hated me for all of her life.”

Typically in the internet age, people only read the headlines and think Maria Schneider was actually raped for real on camera. She wasn’t. It is alleged that Brando did lubricate her anally with the butter on his finger. That changes things. We will never see it legally challenged in court, but it would be something to see lawyers try to work out what happened. Marlon Brando was a man who did whatever the hell he wanted and left the wreckage behind for others to deal with. He said: “Like a large number of men, I, too, have had homosexual experiences, and I am not ashamed.” He had sixteen children, three marriages and seemingly endless affairs. Today, he would probably be called a sex addict.

Brando died aged 80 in 2004. Maria Schneider died of cancer in 2011. She had a history of drug problems and mental problems after Last Tango In Paris.

The surreptitious plotting of the rape scene itself with Brando is a director going too far. It is deliberate humiliation of an actor on set, which is pretty shabby behaviour already.

Brando also felt he’d been violated by Bertolucci but in a psychological way, when he got him to improvise on camera about his painful childhood. “I don’t have any good memories,” Brando says through the mask of his character Paul. He goes on to say his father was “a whore fucker and a bar fighter…He was tough.” Bertolucci gloated later on that he’d made Brando reveal all his secrets on film. Brando, raging and trying not to admit his humiliation, said: “You think that’s me?” Brando swore he’d never reveal as much of himself in a film again and he didn’t. He said: “I’m not going to lay myself at the feet of the American public and invite them into my soul. My soul is a private place. And I have some resentment of the fact that I live in a system where you have to do that.” He did a lot of movies for massive fees like Superman in 1978. He would never do anything as raw or challenging as Last Tango In Paris.

Some have called for all copies of Last Tango to be burned. I say no. The scene at the start where a grieving Brando raves and rants at his dead wife in her coffin is probably the best acting he ever did. Sure The Godfather won him the Oscar and gets more praise but the foul-mouthed rage, confusion and despair he conjures up out of nothing, is phenomenal.

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A court once ruled that all copies of F.W. Murnau’s Nosferatu be burned because it had infringed the copyright of Bram Stoker’s Dracula. Thankfully some copies survived as it is, for my money, the best Dracula movie ever made and a remarkable example of German expressionist cinema.  Need we go into Nazi book-burning to show how this kind of censorship is wrong?

It isn’t the only occasion of directors using odd, disrespectful means to get performances out of actors. On the set of The Exorcist, director William Friedkin fired guns behind actors to get the right level of fear out of them.

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Director William Friedkin giving direction to actor Jason Miller on the set of The Exorcist

Jason Miller, who player Father Karras in the film, reacted angrily to Friedkin’s weapons and said: “You son of a bitch, don’t you ever do that again!” Friedkin went further at the end of the picture when a real priest, not an actor, had to give his friend the last rites and wasn’t as upset as he should have been. Friedkin belted the priest across the face, called action and the priest’s hands were shaking as he blessed his dying friend on the ground (Tony Scott did the same thing to actress Chelsea Field on the set of Bruce Willis movie The Last Boy Scout in 1991.)

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Director Tony Scott

Perhaps Tony Scott took a leaf out of his brother Ridley’s book. While directing Alien in 1979, it came time to shoot the infamous “chest-burster” scene where the infant alien rips its way out of John Hurt’s writhing body. The cast were not told what was going to happen. They arrived on set to see everything covered in plastic and the writers “giggling like kids” as Sigourney Weaver put it.

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The looks of shock and astonishment on the faces of the actors are real. Nothing like it had ever been seen before in a film and they were watching it as it was happening before their very eyes. Ridley Scott had pulled a mean trick on his actors but got some no-bullshit reactions from them.

Do the ends justify the means? How far do we want the creators of art to go on our behalf? I’ll let you be the judge of that.

© Copyright 2016, Stewart Stafford. All rights reserved.

Wuthering Heights & Its Influence on Vampire and Popular Culture

Wuthering Heights, the only novel by author Emily Bronte before her death at 30, has been highly influential on popular culture. It was published in 1847, the year of the great Famine in Ireland and exactly 50 years before Bram Stoker published Dracula.

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The book begins with the narrator Lockwood coming to stay at Wuthering Heights. He is given the former room of Catherine Earnshaw. During the night, he dreams that the ghost of Catherine or Cathy Earnshaw comes to the window, grabs his arm and begs to be let inside. Lockwood informs Heathcliff, the landlord, who opens the window to let the spirit enter but none appears. This supernatural appearance at the window is similar to how Dracula gains entry to the bedrooms of his victims, except he uses his mental, physical and/or erotic power to get in. In some vampire stories, it is necessary to invite a vampire in for them to gain access. It would appear to have at least partially originated in this standout scene from Wuthering Heights.

The story of Wuthering Heights is then told in flashback (Stoker also uses narrators to tell the story of Dracula but in the form of letters and journal entries). Heathcliff as a child is discovered wandering homeless by Mr Earnshaw on his trip to Liverpool. (Liverpool is a port and, as with Dracula, Heathcliff seems to have arrived in England by ship although that is never stated in the book. Judging by the ethnic description of him though and the location where he was found, it is a strong possibility.) The boy is described as “a dark-skinned gypsy in aspect.” Earnshaw names him Heathcliff and brings him home where his presence stirs up jealousy from Earnshaw’s son Hindley and infatuation from his daughter Cathy.

Heathcliff, like Dracula, is the mysterious, dark foreigner bringing his obsessive, destructive and ultimately lethal love to England’s stuffy upper classes. The theme repeatedly used in Wuthering Heights about eternal love even after death was one Bram Stoker would return to in Dracula five decades later.

Although they appear destined to be together, Cathy and Heathcliff grow up and marry other people and their relationship turns jealously masochistic with fatal consequences. Only after their deaths do they appear to fulfill their destiny and become soulmates at last.

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Sir Henry Irving
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Irish author Bram Stoker

Dracula author Bram Stoker was the manager of actor Sir Henry Irving. Irving was a fearsome figure who dominated Stoker. Many believe him to be the inspiration for Stoker’s vampire count.

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Laurence Olivier’s Heathcliff (1939)

Not only did Irving serve as inspiration for Bram Stoker but, indirectly, for actor Laurence Olivier who played both Heathcliff in Wuthering Heights and Van Helsing in Dracula onscreen.

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Olivier as Van Helsing in Dracula (1979)

When stuck for ideas on how to play Shakespeare’s Richard III in the movie he was directing, Olivier said: ‘I’d always heard imitations of old actors imitating Henry Irving. And so I did, right away, an imitation of these old actors imitating Henry Irving’s voice. That’s why I took that sort of rather narrow vocal address.’

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Olivier as Richard III (1955)
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Ralphie Glick returns as a vampire

Cathy’s ghost appearing at the window echoes the victory over death and return from the grave in vampire lore. Stephen King’s 1975 novel Salem’s Lot was inspired by Dracula. One night over supper, King mused what would happen if Dracula reappeared in the-then 20th century. Again, King makes the connection between Dracula and Wuthering Heights explicit when dead boy Ralphie Glick comes to his brother’s window after being preyed upon by the master vampire in the town. He also wishes to be let in as Cathy does.

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Kate Bush in the video for Wuthering Heights

In 1978, Kate Bush reached number one in the UK charts with her song Wuthering Heights. It was directly inspired by a 1967 BBC adaptation of Emily Bronte’s novel that Kate Bush saw when she was 18 (she even shares the same birthday as Emily Bronte). Bush specifically chose Cathy’s appearance at the window in the book to structure the song around and wrote from her perspective: “Heathcliff! It’s me, your Cathy, I’ve come home. So co-o-o-old, let me in at your window.” She definitely played up the scary, supernatural side of the scene and wasn’t afraid to potentially frighten away record buyers. Her bravery paid off with her first and only number one to date.

Kate Bush’s mother was from Ireland. With her high-pitched wailing and scary eyes in the video, it’s tempting to imagine Kate Bush shifting the setting of Wuthering Heights to Ireland and the ghost of Cathy becoming a Banshee coming in from a misty bog in the Irish countryside. Journalist Clive James famously stated in 1978 that he wasn’t sure ‘whether Kate Bush is a genius or a headcase, but she is definitely something else.’ Her ethereal, otherworldly performance spooked some people just as the original scene in Emily Bronte’s book had.

You can watch the two very interesting versions of her Wuthering Heights videos here;

Version 1

Version 2

It just demonstrates how, when an author hits upon a striking and powerful image, it can permeate down consciously and unconsciously through many forms of artistic expression for decades and even centuries to come.

© Stewart Stafford, 2016. All rights reserved.

The Vorbing vampire novel by Stewart Stafford

Nightmare! The Birth of Horror: Dracula BBC Documentary

I have just added the excellent BBC documentary on the origins of Bram Stoker’s Dracula to my website. Perfect Halloween viewing; http://thevorbing.com/the-birth-of-horror-bbc-documentary-dracula/