Christine (Sandy McLeod) takes a job selling tickets at a porno theater near Times Square. Instead of distancing herself from the dark and erotic nature of this milieu, she develops an ... See full summary »

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Cast

Cast overview, first billed only:
Sandy McLeod ...
Christine
...
Mark
Richard M. Davidson ...
Louie (as Richard Davidson)
...
Jose
Nan Goldin ...
Nan
Lee Tucker ...
Projectionist
Peter Rizzo ...
Driver
...
Business Manager / Porn Customer
Suzanne Fletcher ...
Woman in Bar
Peyton Green ...
Woman in Bar
Cookie Mueller ...
Woman in Bar
Norma Angelica Rodriguez ...
Woman in Bar (as Norma Rodriguez)
Sally Rodwell ...
Woman in Bar
Nancy Reilly ...
(voice)
Scotty Snyder ...
(voice)
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Storyline

Christine (Sandy McLeod) takes a job selling tickets at a porno theater near Times Square. Instead of distancing herself from the dark and erotic nature of this milieu, she develops an obsession that begins to consume her life. Few films deal honestly with a female sexual pointof-view, controversial and highly personal, VARIETY does just this. Written by Anonymous

Plot Summary | Add Synopsis

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Drama

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Release Date:

8 March 1985 (USA)  »

Also Known As:

La celda de cristal  »

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Did You Know?

Goofs

The Variety Photoplays Theatre was actually on 3rd Avenue and 14th Street, some thirty blocks away from the Times Square area. See more »

Connections

References I Like to Watch (1982) See more »

Soundtracks

Bilongo
Performed by Eddie Palmieri
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User Reviews

 
Subverisive but flawed femme/feminist noir
30 December 2004 | by See all my reviews

The combination of Kathy Acker as writer and Bette Gordon as director should have signaled a potent brew, but sadly what we get here is a brilliant idea cut down savagely by the film's low-budget budget. Tracing the seedy, crime-ridden porn theater world of Times Square in the early 80s from a what was a post-feminist perspective should have pushed the boundaries of what could be explored in feminist cinema but here the effect is to disengage the viewer from the convoluted action. Every technical aspect from the sound to the acting feels shabby and weak and frankly underwhelming but there is an underground post-Factory (Warhol not WalMart) passion at work that just about saves this oddity. Acker's polemical script presents feminist intervention/investment in the patriarchal world of pornography with some gusto and ambiguity at times but eventually the direction dilutes itself in a haze of revisionist sexual politics, thanks to the inconsequential scripting and unfocused lensing.


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