5 posts categorized "Erotic"

April 10, 2018



Groupthink doesn't live here, critical thought does.

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Last_tango_in_parisBorn of Bernardo Bertolucci's fantasies about carrying on a purely sexual affair with a complete stranger, Marlon Brando's Paul and Maria Schneider's Jeanne meet regularly in an empty Parisian apartment for unbridled sexual trysts. Paul insists that neither one reveal their names or express any elements of their lives outside their insular world.

Theirs is a relationship built purely on carnal intention and experimentation. The stark atmosphere that Bertolucci creates allows for sensual realism to thrive.


Jeanne doesn't know that Paul is coping with his wife's recent suicide. Paul knows nothing of Jeanne's obsessive filmmaker boyfriend Tom (Jean-Pierre Léaud) who is on the brink of proposing to Jeanne.


Written with assistance from Franco Arcalli and Anges Varda, Bertolucci plays liberally with dualities to address deep-seeded emotions that can only be expressed indirectly. Even the filmmaker’s noir-influenced image system plays with angles.

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For the first time, Paul drinks with Tom, his wife's neighbor and former lover, who wears the same robe as Paul. The over-enthusiastic Tom represents an outwardly preoccupied inversion of Paul, who tests Jeanne's temperamental boundaries in similar but altered ways.

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After revealing his identity and troubled situation, Paul tells Jeanne, "When something's finished, it begins again." He breaks the carefully guarded code the lovers have adhered to up until now. Paul's sudden turn from cynic to optimist (late in the story) must be punished. His refusal to adhere to his own rules is unacceptable. Not everything is permitted.


For all of the critical and public controversy about “Last Tango” being a pornographic film at the time of its release, the movie is a painstakingly theatrical mood piece that relies heavily on judiciously coded musical cues from Gato Barbieri's repeated motifs.


Significant is Philippe Turlure's bold art direction that draws on the work of the artist Francis Bacon. Two of Bacon's paintings introduce the film during its opening credit sequence. They influence the look of the movie’s saturated color scheme for the interior of the apartment where much of the story takes place. A two-foot high rust colored waterline surrounds the interior walls as if to suggest that the apartment had been submerged in a mixture of blood and water for an extended period during its storied past. The ravages of wars fought have left their mark here.

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“Last Tango in Paris” is a masterwork of post-modern existential angst that attempts to reconcile a depth of social existence through its sexually liberated characters.

Rated NC-17. 129 mins.

5 Stars

Mike broke out Wavy Tropics Guava Pale Ale from Kills Boro Brewing for our discussion of Bertolucci's LAST TANGO IN PARIS even if we had planned to do Lars von Trier's MANDERLAY for this, our 99th episode. Check out my silent shout-out to THE STRYPES if you go to ColeSmithey.com. Bon appetite!

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Cozy Cole

Cole Smithey on Patreon

March 08, 2014



Groupthink doesn't live here, critical thought does.

This ad-free website is dedicated to Agnès Varda and to Luis Buñuel.

Get cool rewards when you click on the button to pledge your support through Patreon. Thanks a lot pal! Your generosity keeps the reviews coming!

Cole Smithey on Patreon


Nymphomaniac Just as with Harvey Weinstein’s famous mistake of splitting Quentin Tarantino’s “Kill Bill” into two parts, the producers of Lars von Trier’s 240 minute film have seen fit to split it in two, rather than deliver the movie as the filmmaker intended. Big mistake.

The result is exactly what you would expect, that of watching half of a movie. It is not a fair way for an audience to screen the film, much less an acceptable format for a critic to judge and contextualize it by. To make matters worse, there will also be a 5.5 hour director’s cut that will demand interested viewers cover old ground if they are invested enough to want to see von Trier’s entire film. Meh. Pshaw. 


Volume I establishes the character of Joe (Charlotte Gainsbourg), a self-hating nymphomaniac rescued from the cold ground of a brick-wall-surrounded courtyard by Seligman (Stellan Skarsgård), a thematically-charged character whose sole purpose — in Volume I at least — is as a human sounding-board and harmonizing influence for Joe's litany of sexual transgressions.

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Seligman is a lonely guy, a bit too pleased to have in his company a piece of female damaged-goods who wants nothing more than to spill the beans about her life of wild and naughty sexual diversions — indeed her sexual experiences are many and varied. Joe is one carnally voracious girl. The titillation dial is stuck on ten.


The film opens on a black screen. Water tinkles. The viewer is left to imagine its source. Is someone taking a leak? No. Snow is falling, and melted ice drips down a tin drain.

A passed-out Joe lies bloodied on the pavement of a well-concealed courtyard outside of Seligman's apartment. Seligman awakens her. He offers to call an ambulance or the police. Joe threatens to run off if he does. It’s tea that she wants. He invites her inside his sparsely appointed place and puts her in bed. The defenseless Joe begins to recount her sexually adventurous life that led up to her present wounded condition — possibly from some act of revenge or semi-public bit of BDSM.

Stacy Martin - Nymphomaniac - Volume I - Director's Cut - 15_1-500

Seligman not only isn’t judgmental about Joe's checkered past, he finds all sorts of reference points from his own life — related to things such as fly-fishing. He sees similes in her troubled tale of bedding as many as ten men per day. Seligman is a dilettante counselor who is patient, and effete enough to listen to Joe’s outrageously erotic stories without becoming visually aroused or making a pass that would surely be easily received.


Not all of Joe’s flashbacks are sexual. She fondly remembers walking though a winter forest with her doting father (Christian Slater). Joe’s erotic journey is broken into chapters — four for each film. “The Compleat Angler” is the first section. Joe recounts playing a sexual conquest game with her best friend, in which the two teenage girls would compete for a bag of candies by seeing how many men they could seduce during a train ride. Joe gets extra points if she can extract a load from a married man on his way to impregnate his ovulating wife. His cock does indeed find its way into Joe’s hungry mouth. No surprise how that scene ends.

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Joe’s flashback description of losing her virginity — at her own request — to Jerôme (Shia LaBeouf), a local London boy with a moped, brings up the fact that he "humped her three times in the front, and five times in the back." Seligman identifies Joe’s “most humiliating numbers” as following a Fibonacci series. Von Trier steals a page from Peter Greenaway when he superimposes graphic onscreen sub-titles and diagrams of the way Fibonacci numbers are used. Referenced is the way they approximate the natural order of a seashell. The numbers themselves flash on the screen as Jerôme pumps away at a younger version of Joe (played by a fearless Stacy Martin).


As Joe’s personal tales of knee-jerk seductions go on, the sex scenes become gradually more graphic, and the sideline humor more sly. During the film’s third chapter “Mrs. H,” Uma Thurman plays the vengeful and curious wife of the man who has left her in order to be with Joe. Neither Mr. nor Mrs. H has any idea that they are interrupting a busy evening of carefully timed assignations that Joe has planned with various men.

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Nymph()maniac is a sly piece of anti-slut-shaming cinema aimed at demystifying female carnal desire. It is a character-study of an ostensibly rare type of sexually ravenous woman. Von Trier creates a new breed of social satire that is equally daring and tame. While the film is fiercely pornographic, it does not represent pornography per se.


“Love is the secret ingredient” that Joe denies and yet secretly seeks. Her loss of the ability to orgasm coincides with her father’s imminent death. Volume II promises to follow Joe’s experimentation into fetishized BDSM. 

To be continued...

Not Rated. 117 mins.

4 Stars

Cozy Cole

Cole Smithey on Patreon

February 21, 2014


Jeune & JolieFor his latest filmic exploration François Ozon addresses a complex mix of sexual, personal, social, familial, gender-based, and technological issues, inexorably honing in on a striking synthesis of generational catharsis. That he does so via a story about Isabelle (exquisitely played by newcomer Marine Vacth), a beautiful bourgeoisie and a 17-year-old DIY prostitute, reflects the growth of one of France’s most consistent filmmakers — one of few who develops in proportion to the promise of his well-seeded career.


Set over the course of a year, the film uses the age-old narrative form of seasonal changes to mark Isabelle’s fluid transition from virgin to sensual mistress. Most of her clients are men old enough to be her grandfathers. To call Marine Vacth’s fearless performance extraordinary barely scratches the surface of her finely crafted, transparent portrayal. Vacth isn’t merely precocious; she is a force of unbridled feminine and intellectual nature. Isabelle has important lessons to teach, as well as to learn.


Ozon takes “meta” liberties when he shows Isabelle and some of her high school classmates reciting quotes from Arthur Rimbaud’s poem “No One’s Serious at Seventeen.”

"On beautiful nights when beer and lemonade

And loud, blinding cafés are the last thing you need

You stroll beneath green lindens on the promenade.”

The unapologetically poetic direct-to-camera sequence captures much of the naiveté, seething lust, and directionless ambition that Isabelle seeks to shed through her computer-facilitated double life of erotic experimentation. Her journey will be a quicksilver submersion into a lifetime’s worth of sexual experience and ever-changing needs and desires.


In keeping with Ozon’s non-judgmental approach to his characters in such films as “Hideaway” and “In the House,” the filmmaker never veers into melodrama or exploitation regardless of how tempting the subject matter might seem on the surface. That’s not to say that Ozon doesn’t regard the erotic nature of Isabelle’s endeavors with the sexual directness they deserve. The audience experiences her erotic journey in relation to the sense of liberation she discovers along the way. If that freedom comes with a cost of cynicism, then the lessons are all the more truthful for her paying that price. There is a cost to wisdom — regardless of how it is achieved.

Young & Beautiful

When Isabelle witnesses her judgmental mother Sylvie (Geraldine Paihas) secretly flirting with a man with whom she may be having an adulterous affair, it seems to support Isabelle’s bold if hazardous attempt at getting to the bottom of a romantic illusion that is too limited and naïve for her mature constitution. Isabelle always gravitates to the bottom line in human relations. An uncomfortable sequence where she gauges her step-father’s lustful ambitions presents one of the film’s more challenging scenes. 


Gorgeously filmed by cinematographer Pascal Marti, “Jeune & Jolie” (“Young & Beautiful”) is a patient film that delves thoroughly into the generational mindsets of its age-disparate characters. Charlotte Rampling helps send the narrative to its evocative conclusion as a woman called Alice, the wife of one of Isabelle’s clients. You will never forget this truly mind-blowing film.


Not Rated. 95 mins. (A+) (Five Stars - out of five/no halves)  

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Groupthink doesn't live here, critical thought does.

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