sex, lies, and videotapes



Twenty or so years ago, Nancy Friday was successful -- in real life, though with a different medium (non fiction books) -- at the task that Francois, our director, assigns to himself : documenting female sexual pleasure, offering a safe place for women to reflect on and express their forbidden sexual longings. Friday was successful in a very uneventful manner as she met little resistance to her pursuit. So why is it that, a generation later, the same task is portrayed as "mission impossible" -- or at least as a hubristic enterprise ("thou shalt not defy the gods with impunity")?

Friday was on the side of women, of humans. Francois appears to be on the side of something much more impersonal -- like advancing the art of film making. He is blind to the love of his wife and the love/infatuation[?] of his young actresses -- I suppose, in the name of securing his place in the history of cinema...? Eventually he seems to get his wish, though he is literally and figuratively broken.

So, while Francois has a definite gift -- allowing women to open up sexually, enabling them to cash in on their sexual desire to break taboos -- he is actually not a very smart man when it comes to women. Ultimately he becomes the victim of them all -- except, ironically enough, the exterminating angel whose job was to make him pay but who ultimately will rescue him from death.( And, of course, let's not forget his everloving grandmother -- who knows that he is still but a little boy). All those women's real-life agendas end up overshadowing whatever measure of gratefulness they may feel for his sexual "therapy". He is a healer but -- because sex is involved? -- they systematically opt for an adversarial outcome and he is on the losing end every time.

Thus we are left with a movie which -- instead of validating women and their uttermost intimate secrets (and maybe nature) -- chooses instead to demonize them and their powers. (The lesbian-ISM is a bit obsessional and certainly symptomatic of the director's -- which one, Francois or EA's director? --insecurity towards real women.) It is an unfortunately pessimistic statement on the future of harmonious relations between men and women.

On the positive side, the movie is a tribute to the reality that even today "le sexe" is more than we humans can usually handle, still mysterious, still elusive, still slippery, still wet. Humans at the height of pleasure remain untamed.

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I don't get the post title?!? SEX, LIES, AND VIDEOTAPES? I haven't seen, though I know it's a classic. Somebody enlighten me as to the connection with Angels, please.

and who's that Friday?

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I think it's because in the movie Sex, lies and videotapes, James Spader recorded all the tapes from many interviews of women and he doesn't make sex with them, just talk, to understand their sexuality.

In this movie Anges, Francois did the same thing. Anybody else agree?

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Your post opens up quite a range of ideas that I feel are worthy of exploration. I am afraid however that the thread will spin out.

In comparing/contrasting the two films you have already done much for the understanding of each. Hopefully the many side matters that they touch on don't interfere too much with that.

For starters I would like to look at a comparison of Graham and François. Their motivations seem to be different. On the one hand, François is using film as a means to explore a realm which he feels (as a male) is outside of the range of his normal experience (female ecstasy). In another sense, in addition, he wants to go where no one has gone before. He wants to capture on film the not-before captured. He wants to discover something. He wants to film something. The two are not unrelated. But these are two different things. What is this thing he wants to film. The movie suggests that it is his conviction that by pushing the thresholds of the permissible, in what amounts to laboratory conditions, a state or condition of ecstasy can be achieved by the participants (subjects). He wants to render the non-clinical in a clinical manner. He wants to place his eye, and the eye of his camera between the viewed and the viewer in such a way that the effect is unilateral. The results spin completely out of control and reveal a direct link from the subjects back to the experimenter, who wanted nothing more than to be a simple observer. He is the only character in the entire film who thinks that this is possible. On the other hand, Graham had discovered in his earlier life that he was incapable of restraining himself. He says that what he felt always came to physical expression. From this we conclude that he had become violent in an earlier relationship. This proved to be so traumatic for him that whenever there was the prospect of causing harm he became incapable of expressing himself. He went more or less dead and so, sexually, he became impotent. He would conduct his interviews in order to capture the aroused life of his subjects, so that later, when they were out of harms way, with his imagination he could stage a sexual encounter "with another".

What is common to each film, is that in every case the females find that when the male is determinedly "non-responsive", they become aroused. Furthermore, they are all aware that this is the case and even state it. The character of the arousal and the results in the two films differ. In SL&V, the two women are more or less transformed for the better. In EA, the range is more complex, from a hopelessness that spins into suicide, to abject rejection (his wife), even to demonic possession. The cathartic effect of the experiences in the case of Graham move in the direction of health. We are left wondering in the case of François just exactly what he learned, and who he subsequently became.

That being said, I am starting to wonder about whether (conscious or no) a question is put before us about the woman's sexuality in relation to its capacity to arouse a man.

In SL&V, Cynthia finds a qualitative difference in the nature of her arousal between encounters with Graham and John, not based on who she is, but based on how the men respond to her seduction. Ann finds the seductive aspect of her sister repulsive but discovers a hidden capacity for arousal with the man her sister can't seduce.

In EA , in (again) more complex and diverse ways, the different women attribute the course of their futures to the fact that François failed to respond to them when they responded to him. Almost as if to say, "You brought me to this zone, and left me on my own. We all agreed that this is what was supposed to happen, but you should know that you can't do that with impunity." Is there such a thing as unconditional sex? Guilt, responsibility, consenting adults - can we just shift blame by an agreement or are we duty bound by consent, regardless of "prenuptial" agreements?

I am just now getting into this film and will undoubtedly change my views as time goes on, but this is a start.

(PRN) – http://www.youtube.com/watch?v=id-bFpYQzXE

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I do not think that Graham's saying he expressed himself non verbally in a way that frightened people necessarily meant he was actually violent to anyone.

Rose is your friendly neighbourhood fluffy mentalist

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That may very well be true. I suppose what I had in mind was more on his apparent inability to mediate between his emotions and the expression of them that left him impotent. Perhaps he just threw things around or broke stuff. Maybe he drove recklessly or whatever. What was coursing through my mind was this picture of a person who really wouldn't want to harm anyone but not really able to have a handle on himself to the extent that he would be certain that he wouldn't. This imbalance resulted in an inability to surrender to that arena of his soul which results in a man raising his sword and other things as well.

(PRN) – http://www.youtube.com/watch?v=id-bFpYQzXE

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