Jefferson Morris
Supporting Actor
- Joined
- Jun 20, 2000
- Messages
- 826
All of Crash pretty muchy qualifies. A difficult, incredible, powerful film. It irks me that when I talk about how great Crash is, people will inevitably think of the recent, lesser film.
Another Cronenberg film with a memorable sex scene, to me: Dead Ringers. The brief scene between Bev and Claire, where she's tied up to the bed with rubber surgical straps, bathed in blue light. It's probably Howard Shore's music more than anything else that makes the scene, plus her poignant whispered dialogue about never being able to have a baby.
Cronenberg rules.
Regarding that Munich scene that was mentioned earlier - that one is a puzzler, but fascinating. A truly audacious use of cross-cutting that raises more questions than it answers. Is Avner having sex with his wife to try to banish these terrible images of violence from his mind? But why should he feel guilty about the Munich massacre, in which he played no part? Is he perhaps turned on by the violence? I find it interesting how Spielberg seems to associate sexual release with the voyeuristic narrative release of finally seeing the athletes get killed (which in some sense we've been waiting for and anticipating throughout the whole film).
There are numerous connections made between sexuality and death in that film. The terrifying killing of the beautiful, half-naked Dutch assassin, each man taking his turn with his little one-shot "pump," feels like a perverse gang-rape scene. Incredible material coming from Spielberg (and his best since Schindler's, I think).
--Jefferson Morris
Another Cronenberg film with a memorable sex scene, to me: Dead Ringers. The brief scene between Bev and Claire, where she's tied up to the bed with rubber surgical straps, bathed in blue light. It's probably Howard Shore's music more than anything else that makes the scene, plus her poignant whispered dialogue about never being able to have a baby.
Cronenberg rules.
Regarding that Munich scene that was mentioned earlier - that one is a puzzler, but fascinating. A truly audacious use of cross-cutting that raises more questions than it answers. Is Avner having sex with his wife to try to banish these terrible images of violence from his mind? But why should he feel guilty about the Munich massacre, in which he played no part? Is he perhaps turned on by the violence? I find it interesting how Spielberg seems to associate sexual release with the voyeuristic narrative release of finally seeing the athletes get killed (which in some sense we've been waiting for and anticipating throughout the whole film).
There are numerous connections made between sexuality and death in that film. The terrifying killing of the beautiful, half-naked Dutch assassin, each man taking his turn with his little one-shot "pump," feels like a perverse gang-rape scene. Incredible material coming from Spielberg (and his best since Schindler's, I think).
--Jefferson Morris