Mickey Rourke reprises his role as the mysteriously sexy John in this steamy, suspense-filled follow up to 9 ½ WEEKS. When John travels to Paris to attend an art sale hosted by his old ... See full summary »
Agathe de La Fontaine,
An investment banker (Paul Mercurio) travels to Louisiana to snag the account of an eccentric millionaire (Malcolm McDowell) but gets involved with his lusty wife, Mardi Gras, and (possibly... See full summary »
Barr is a psychiatrist who falls in love with the sister of one of his clients. She's beautiful and married (to a gangster). She hates her husband but is unable to escape from him. To avoid... See full summary »
Johnny Walker is a cowboy and a boxer. He is very shy and a bit of a fool. He is in love with Ruby, but he cannot tell her. He is also a bit old to keep on boxing, but its the only thing he... See full summary »
An erotic story about a woman, the assistant of an art gallery, who gets involved in an impersonal affair with a man. She barely knows about his life, only about the sex games they play, so the relationship begins to get complicated. Written by
Michel Rudoy <firstname.lastname@example.org>
The film was initially supposed to be distributed by TriStar Pictures as they had a distribution deal with the film's producers. However, the film was dropped shortly before the originally planned December 1985 release date due to issues with the MPAA (the producers were obligated to deliver an R-rated film). After the smoke cleared and the film got an R rating, MGM stepped in and released the film. See more »
When Elizabeth is sitting on the floor of the gallery arranging how to hang artwork, she is not wearing her white gloves. As she laughs at the man hanging the artwork, she has her hand to her face and she is now wearing the white glove. In the next scene she corrects the man and again, the glove is not on. She then gets up to receive her flower delivery and the gloves are back on. See more »
You work and you work and you work. You meet with people you don't like, that you don't know, that you don't even want to know. And you try to sell them things and they try to sell you things, you go home, you listen to the wife nag and the kids bitch. You turn off the T.V., you wake up the next day and you do it all over again. But I'll tell you, the only thing that keeps me going is this chick. I've got this incredible chick on the side you see, and she is so hot, I can hardly believe it. ...
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Except perhaps in Paris where, until recently, it played in a cinema just off the Champs Elysee. This film has been condemned from just about every possible, so I will not try and defend it blow by blow. There is much to appreciate here, particularly when the film is looked at in the context of it being the '80's "Last Tango In Paris" - perhaps even self consciously so. The opening shot of "Nine 1/2 Weeks" echoes the famous opening of "Last Tango In Paris" and there are many parallels, but never to the point of it becoming overt.
If one accepts that form is to mirror content and apply that here it becomes clear that efforts were made to do so. The visual 'look' of both films not only mirror their content (for 'Tango': a muted color pallette, yet somehow lush, there is a layer over everything) but also their era. Both films deal with similar subject matter, in the context of the time in which they were made.
"Nine 1/2 Weeks" IS the '80's in much the way that "Last Tango..." is the '70's - the obsessions of an era are embodied in the struggle of two human bodies. Motions, touches are imbued with something beyond what is happening in the here and now. Very much in question here is the internal landscape of the characters involved - something one, as a filmmaker, would rather expose in a visual way as opposed to having characters pontificate about it (though Brando TALKS in "Last Tango..." it is very often what he doesn't say, the silence between two lines of dialogue, that SAY more) - in "Nine 1/2 Weeks" there are many visual cues/pointers as to the characters' states of mind, i.e. their apartments, the manner in which they are decorated stark, all straight lines (John) vs. cluttered and dusty (Liz). Elements like that make a film work.
The only moments of relief that Liz experiences in the film are when she is away from the city, away from John, amidst nature with the painter - in fact, one almost never sees John outside, just like Paul in "Last Tango..."
all these little cues about character should raise the questions in the
viewer's mind - what sort of person would?...
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