Secretary

Based on Mary Gaitskill’s short story Bad Behavior, Secretary is the story of a troubled young woman who becomes a secretary for a perfectionist lawyer where the two engage into a sadomasochistic relationship. Directed by Steven Shainberg and screenplay by Erin Cressida Wilson with story adaptation by Shainberg and Wilson. The film is an exploration of two people who bond through sadomasochism that is filled with romance, humor, and drama. Starring James Spader, Maggie Gyllenhaal, Jeremy Davies, Stephen McHattie, and Lesley Ann Warren. Secretary is a daring yet unconventional film from Steven Shainberg.

After returning from a mental hospital to attend her sister’s wedding, Lee Holloway (Maggie Gyllenhaal) is unsure about returning home which is dysfunctional due to her alcoholic father (Stephen McHattie) and her overprotective mother (Lesley Ann Warren). In an attempt to have a normal life, Lee finds an ad for a secretary as she is interviewed by an attorney named E. Edward Grey (James Spader). Lee gets the job as she works for Mr. Grey in writing letters for him and doing other errands where things are fine until a phone call from her father and an encounter with Mr. Grey’s ex-girlfriend Tricia O’Connor (Jessica Tuck). While Lee’s personal life has her gaining a boyfriend in Peter (Jeremy Davies), her work life starts to become overwhelming due to Mr. Grey’s perfectionist persona.

After an intimate conversation where Mr. Grey tells Lee to stop cutting herself, the relationship improves until Lee’s mistakes in her job lead to a moment where he invites her into his office where he spanks her. For Lee, it becomes a big awakening as she finds herself enjoying her job and begins to have feelings for Mr. Grey. When a personal matter concerning Lee’s family has her wanting to turn to Mr. Grey for help, the sadomasochistic relationship ends as he becomes distant. When Lee decides to make an attempt to connect with Mr. Grey, she starts to learn of his own shame as she tries to help him.

The film is about the strange relationship between two very odd people who engage into this sadomasochistic relationship where the man is turned on by her submissive behavior while the woman finds herself enjoying the submissive role. It’s a strange idea for a film that is a romantic comedy of sorts but also a great character study in how these two people can come together in the most unlikely circumstances. Erin Cressida Wilson’s script is very smart for the way she portrays both Lee and Mr. Grey as this unique couple who seem to enjoy having a sadomasochistic relationship where they’re allowed to be themselves. For Lee Holloway, she goes from this socially-awkward and lonely woman that comes from a very dysfunctional family and turns her into a more aware and open woman that doesn’t mind being the submissive.

Then there’s E. Edward Grey who is this individual where he’s introduced as this very lonely man that is unable to express his own sexual desires until Lee is willing to do anything he says where he is aroused by the fact that she’ll do what he does crawling on her hands and knees while holding a piece of paper on her mouth. While it may be acceptable in the office building that he works in, he’s unable to go beyond that when Lee tried to talk to him at his home but she realized that she was invading the very private home that he lives in. Mr. Grey is just as complicated as Lee because he has been through so many relationships that don’t work out while he is truly more fragile than Lee realized.

Wilson’s script gives director Steven Shainberg the chance to create a film that defies the conventions of a romantic film that has a lot of humor and drama. Through his stylish direction, Shainberg dwells into this world of this entrancing office building filled with plants and a small garden with tracking shots that includes a fantasy scene where Lee dreams about coming out of a flower as Mr. Grey is entranced by her. Shainberg also creates a lot of intimate moments in the conversation scenes between Lee and Mr. Grey while the sexual elements of the film isn’t very racy but still has an element of danger as far as the sadomasochism material handled. The overall work is a truly divine yet entrancing film from Steven Shainberg.

Cinematographer Steven Fierberg does a fantastic job with the film‘s photography from the brooding yet exotic look for the office building scenes to more sunnier and colorful look for many of the film‘s Californian exteriors. Editor Pam Wise, with additional work from Jay Rabinowitz, does an incredible job with the editing to create a wonderful montage of Lee and Mr. Grey’s blooming S&M relationship as well as some stylish dissolves and jump-cuts to play up the dramatic elements of the film. Production designer Amy Danger, along with art director Nick Ralbovsky and set decorators Michael Baker and Michael Murray, does a brilliant job with the very cold yet hypnotic look of the interior office building that Lee and Mr. Grey work at to the more quirky home of Lee and her family.

Costume designer Marjorie Bowers does an excellent job with the clothes that Lee wears from a girlish yet somewhat ragged look early on to a more professional yet sexier look as the film progresses. Visual effects supervisor Randal Balsmeyer does a nice job with the film‘s sole visual effects scene where Lee dreams of a great fantasy world with Mr. Grey. Sound editor Brian Langman does a terrific job with the sound to help capture the intimacy of the scenes between Lee and Mr. Grey.

The film’s score by Angelo Badalamenti is brilliant for its melodic-driven score that plays up to some of the dramatic moments of the film with somber piano pieces and bass-driven cuts. The film’s soundtrack, that is supervised by Beth Amy Rosenblatt, is very good for the music that appears such as cuts by Leonard Cohen and Lizzie West for big dramatic moments while music by acts like Little Richard, Cake, the Seeds, the Faint, Pete Belasco, and War appear in scenes played on location.

The casting by Ellen Parks is superb for the ensemble that is created as it features notable appearances from Patrick Bauchau as Lee’s doctor from the mental hospital, Amy Locane as Lee’s older sister, Oz Perkins as Lee’s new brother-in-law, Mary Joy and Michael Mantle as Peter’s parents, Lily Knight as a paralegal, and Jessica Tuck as Mr. Grey’s ex-girlfriend Tricia O’Connor. Stephen McHattie is very good as Lee’s depressed/alcoholic father while Lesley Ann Warren is also good as Lee’s worrisome yet kind-hearted mother. Jeremy Davies is excellent as Lee’s boyfriend Peter who tries to make her feel welcome only to be confused by her sadomasochistic behavior.

James Spader is phenomenal as E. Edward Grey, a controlling attorney who finds comfort in being the dominant to Lee’s submissive behavior only to realize that he might’ve taken it too far. It’s a very complex and compelling performance from Spader who is a man filled with shame over his sexual desires as it’s definitely one of Spader’s best role. Finally, there’s Maggie Gyllenhaal in her breakthrough performance as Lee Holloway. Gyllenhaal’s performance is definitely the most intriguing as she starts out as this very girlish yet awkward young woman that is truly a mess and then becomes this very professional yet sexually-hypnotic woman that enjoys being a submissive. It’s definitely the performance that put her in the spotlight while she and Spader have an amazing chemistry that is truly astounding to watch.

The 2003 Region 1 DVD (remastered in 2008) presents the film in a 16x9 widescreen with 5.1 Dolby Digital Surround Sound along with English and Spanish subtitles. The DVD also includes a few special features for its release that includes a feature-length audio commentary track with director Steven Shainberg and screenwriter Erin Cressida Wilson. The commentary is relaxed and fun where the two talk about elements of the production plus the performance of the actors as Shainberg cites Mike Figgis’ Leaving Las Vegas as an influence for the film. The DVD also includes a seven-minute behind the scenes featurette where Shainberg, James Spader, and Maggie Gyllenhaal talk about the film and some of the details that went into the making of Mr. Grey’s office.

The DVD also includes a photo gallery that features still and behind-the-scenes picture of the film plus an ad for the film’s screenplay book and trailers for Secretary and Shainberg’s 1996 debut film Hit Me starring Elias Koteas and William H. Macy.

Secretary is a sexy yet provocative film from Steven Shainberg that features outstanding performances from James Spader and Maggie Gyllenhaal. For audiences that wants a love story that defies conventions will definitely want to seek this out while find something interesting about the world of sadomasochism. It’s also film that gives voice to oddballs who feel lost in a conventional world that is able to take charge and make something of their own and be cool with it. In the end, Secretary is a glorious film from Steven Shainberg.

Related Reviews: Secretary screenplay book - (Secretary OST) - (Favorite Films #5: Secretary)

© thevoid99 2011

The Limey

Originally Written and Posted at Epinions.com on 9/24/04 w/ Additional Edits & Revisions.

Cinema in the 1970s brought not just a return to realism but also paved the way for new actors, notably those who looked like guys next door or the guys who just came out of the street. Guys like Charles Brosnan and Clint Eastwood weren’t guys that were very pretty but they could kick your ass. They weren’t the tallest guys; the strongest, or buffed up, they were some serious dudes that are likely to be one of the last guys standing. Then after the 70s ended, guys like Sylvester Stallone and Arnold Schwarzenagger came in with their beefy, macho-like roles that not many guys could relate to except in the terms of violence. Then in 1999, fresh off his comeback film Out of Sight, independent film director Steven Soderbergh decided to return to that old-school genre of realistic tough guys for his 1999 movie entitled The Limey.

Directed by Soderbergh and written by Lem Dobbs, The Limey is about an old British ex-con named Wilson who goes to Los Angeles to investigate the death of his estranged daughter. Learning that her murder was with involvement by a 1960s record producer and his goons, Wilson pursues the truth while having very few friends and an increasing number of enemies. With a non-linear approach to the film’s story, Soderbergh and company goes for a more idiosyncratic tone of the film while remaining true to its storyline. Starring 60s icons Terence Stamp and Peter Fonda in leading roles along with Soderbergh regular Luis Guzman with Lesley Ann Warren, Barry Newman, Bill Duke, Joe Dallesandro, Nicky Katt, Amelia Heinle, and Melissa George. The Limey is a stylish, entrancing crime drama that is both sinister and seductive.

A former convict named Wilson (Terence Stamp) has arrived to Los Angeles from London after hearing the news that his daughter Jenny (Melissa George) had just been killed. Having not seen his daughter for many years since his conviction for robbery, Wilson wants answers as he meets a man named Eduardo Roel (Luis Guzman). Roel believes that Jenny was killed by a man named Terry Valentine (Peter Fonda), a record producer from the 1960s, whom Jenny had been dating as Wilson tries to find more answers about Valentine. After confronting a foreman (William Lucking) and some goons, he sends a message to one of the goons to tell Valentine that he's coming for him. While Valentine hears the news in his home at the Hollywood Hills from his advisor Avery (Barry Newman), he asks Avery to take care of things.

Wilson meanwhile, meets Elaine (Lesley Ann Warren) who was a friend of Jenny from an acting class as she tells him more about his daughter. When Wilson goes to Valentine's house for a party with Roel, they realize that they have to wait as he sends a message by killing one of Valentine's bodyguards prompting Avery to hire a couple of men named Stacy (Nicky Katt) and Uncle John (Joe Dallesandro) to find Wilson. With Wilson spending more time with Elaine as he reveals his regrets, a planned hit on Wilson backfires due to the involvement from the DEA as an officer (Bill Duke) who reveals some news to Wilson about some drugs relating to Valentine. Wilson, Roel, and Elaine go on a trip to Big Sur as Wilson is ready to confront Valentine over the death of Jenny.

What makes The Limey such a majestic crime drama is how Soderbergh approach Dobbs’ screenplay into a non-linear, idiosyncratic style. The film plays like a crime drama but with a more restrained, subtle tone with references to the past and present. The film is really more of a tribute to the 1970s crime dramas since it captures that tone but with a new cinematic style with Soderbergh’s diverse directing style of hand-held camera movements and wondrous steadi-cam shots. Even though it’s set in Los Angeles, the film also contains a British feel with not just Stamp but also the films of Ken Loach and John Boorman. Loach’s debut film Poor Cow is even shown for flashback scenes involving Stamp’s character. Dobbs’ script is also idiosyncratic, especially with its stylized, campy dialogue about the 1960s, women, and all sorts of stuff, especially with Stamp’s cockney accent that plays well to British-American dialogue where Roel asks Elaine “Do you understand half the shit he’s saying?”

With Dobbs’ script and Soderbergh’s direction in tow, credit should also go to Edward Lachman for his lush, dreamy cinematography. With shades of blurry blue for flashback scenes, Lachman captures a translucent, colorful tone of the movie that is evocative in its presentation and works well with Soderbergh’s directing style. Helping the film in its non-linear style is editor Sarah Flack, who brings a stylized, jump-cut like editing style while using the scenes from Poor Cow to convey the style that Soderbergh wanted that is masterfully presented. With Gary Frutkoff in the production design, the film does have that L.A. look, notably in the houses of Valentine. Former Red Hot Chili Peppers drummer and longtime Soderbergh collaborator Cliff Martinez brings a haunting, melancholic piano film score with his broken notes to convey the sadness of Wilson. The film’s music aside from Martinez’s score is filled with electronic tracks from Danny Saber along with lovely cuts from the Hollies, Boston, Doobie Brothers, David Crosby, Steppenwolf, and kicking things off for the movie, The Who’s The Seeker.

Then, there’s film-amazing cast with wonderful performances from its actors. While Melissa George was only seen in flashbacks, she was wonderful in her scenes while Amelia Heinle is gorgeous in the role of Peter Fonda’s girlfriend, who doesn’t know what people like Avery are doing with Fonda. Nicky Katt and Joe Dallesandro are excellent as Avery’s goons with Katt delivering great one-liners and Dallesandro having a great moment playing mentally challenged in a pool hall scene. Bill Duke, in an uncredited cameo, is excellent as the tough-as-nails DEA agent who is more concerned about the drugs rather than the money in a hilarious dialogue-driven scene with Stamp. Barry Newman is wonderful as Valentine’s advisor who is like a crime boss, trying to protect his man and is willing to do anything for Valentine, especially if it meant confronting a guy like Wilson. Lesley Ann Warren gives a lovely, understated performance as Elaine with her motherly, frustrated role in scenes with Stamp where she is angry with him but also feels sorry for him because he lost his child and blames himself for it.

The film’s best supporting performance easily goes to Luis Guzman as Eduardo Roel, with his street-wise, comic, and conscience-driven performance. Guzman in ways plays Sancho Panza to Stamp’s Don Quixote since Roel is trying not to get in trouble, after having serving time for his misdoings. He also makes sure that Wilson doesn’t do anything stupid or do anything huge while becoming the only ally that Wilson has. This is clearly one of Guzman’s best performances, as he remains one of the most versatile, and underrated actors of the industry. Fresh off his comeback performance in Ulee’s Gold, Peter Fonda brings another iconic-like performance as Valentine with his restrained, creepy performance that is very complex in its charm where underneath it, there’s a fear and sadness. Fonda brings a masterful performance in a role that isn’t really villainous but more of someone who is in anticipation for something to happen while he is unsure what to do. This is indeed one of the best performances from Peter Fonda.

Terence Stamp delivers probably one of his best performances in years after being in small, supporting roles where he came out flawless, even in bad films. Stamp is complex in his anger and sadness as he plays a man, living with regret trying to find some closure to his shortcomings as a father. In scenes involving his anger, his physique may not be the kind that would help win a fight but the determination and conviction is strong. In more dramatic scenes, we see Stamp in top form where he brings his own flaws where he doesn’t bring out sympathy but also a man who really wants to have a second chance. Stamp has wonderful chemistry with Warren and Guzman while this film truly gives him the comeback he deserves.

The Limey is a majestic crime film from Steven Soderbergh with great performances from Terence Stamp, Peter Fonda, and Luis Guzman. While the film may not be up to par with sex, lies, & videotape, Out of Sight, or Traffic, it’s one of Soderbergh’s best films that made good on his comeback after being idiosyncratic in the early 90s. Fans of 1970s crime films will find something refreshing about The Limey especially with icons like Stamp and Fonda in their roles while they get a nice dose of tough-guy attitudes. In the end, The Limey is just a movie that makes you feel good while wanting to play up to that Cockney dialogue.

Steven Soderbergh Films: sex, lies, & videotape - Kafka - King of the Hill - The Underneath - Gray's Anatomy - Schizopolis - Out of Sight - Erin Brockovich - Traffic - Ocean's Eleven - Full Frontal - Solaris (2002 film) - Eros-Equilibrium - Ocean's Twelve - Bubble - The Good German - Ocean's Thirteen - Che - The Girlfriend Experience - The Informant! - And Everything is Going Fine - Contagion - Haywire - Magic Mike - Side Effects - Behind the Candelabra - Logan Lucky - (Unsane) - (High Flying Bird)

The Auteurs #39: Steven Soderbergh Pt. 1 - Pt. 2

© thevoid99 2011