After Hours (IMDB) is a 1985 comedy directed by Martin Scorsese. This is one of the single-scene works covered in this project.
Paul, a lonely word processor in mid-80s, midtown Manhattan, meets Marcy in a late night cafe. She invites him to visit her downtown in Soho, which leads to a bizarre series of late night encounters.
One of them is with Kiki (Linda Fiorentino), Marcy’s roommate. We’re introduced to Kiki in just a bra and a skirt, spattered with paper mache. She’s a sultry contrast to Marcy, who is blonde and innocent-looking.
In my discussion of Pets, I neglected to mention that it was based on an off-Broadway play. The Temple of Schlock has a post on the history of the original work and its adaptation into film.
Pets was originally three one-act plays, first produced in May 1969, all based on the idea of women being kept as pets.
It’s not surprising that few critics gave PETS a clean bill of health. Newsday‘s George Oppenheimer summed it up by writing, “Mr. Reich has given us three playlets which, to put it kindly, stagger the imagination,” while Daphne Kraft of the Newark Evening News commented, “PETS, the three one-act satchels of emotion which got hurled on the stage of the Provincetown Playhouse last night, suffers from bad dialogue. The plays sizzle like wet firecrackers and make all of life look like exercises in hysteria.” In the Manhattan Tribune, Clayton Riley wrote, “Nothing to recommend but a superb air-conditioning unit at the Provincetown. Doubtless it will outlive, by a good while, Richard Reich’s slender trio.” Worst of all were the opinions of a critic in Cue: “Richard Reich is a playwright who has discovered a fascinating new toy — sadomasochism. So enthralled is he by the S&M mystique of discipline, power, sexual mastery and submission, torture and self-flagellation, that he has written no less than three one-acters in which people cage, whip, stab, and rape each other with gay abandon, all the while pontificating in language duller than an Abnormal Psych textbook.”
The film combined the three young women characters into one character, Bonnie, combined two older women into Geraldine, and added a few other scenes.
Pets (IMDB) is a 1973 exploitation drama. It’s a picaresque story set in Southern California of a young homeless girl, Bonnie, who falls from one situation to another, not unlike Sade’s Juliette or Voltaire’s Candide.
Zipperface is a 1992 erotic thriller/slasher film, directed by Mansour Pourmand, who also wrote the original story. It also includes some Italian giallo influences.
Someone in a full leather outfit and hood is killing sex workers in an unspecified city. As the city’s female mayor is up for re-election, she wants action on this. The case falls to newly promoted female police detective, Lisa Rider.
The Image (1975), also known as The Punishment of Anne, is an erotic drama directed by Radley Metzger, which he adapted from the novel L’Image (1956) by “Jean de Berg”, a pseudonym of Catherine Robbe-Grillet.
The Image is on the threshold between porn and “real” movies, characteristic of the mid-1970s; it got an X rating in the USA. It makes good use of Paris locations and professional directing, but the plot and characterization are a bit lacking. It. Also unlike a lot of the movies discussed in this project, this has frontal male and female nudity and even shots of fellatio and Anne urinating. There are, however, no shots of genital penetration.
The film takes place in the rarefied, aspirational movie world in which writers can afford gigantic luxurious apartments in major cities. Jean, a writer, goes to a black tie literary cocktail party and meets a former acquaintance, Claire, another writer, and a younger woman, Anne. Claire describes her as “Just a young model…. She belongs to me.” They go to a restaurant for an afterparty, where Claire fondles Anne under the table. Later, the trio go for a walk in the Paris rose gardens, where Claire makes Anne urinate before them.
The Duke of Burgundy (IMDB) is a 2014 drama film written and directed by Peter Strickland, and starring Chiara D’Anna as Evelyn and Sidse Babett Knudsen as Cynthia. Shot in the UK and Hungary.
One of the oldest cliches in BDSM is “the submissive has all the power”. This is not always true, nor is it necessarily a good thing, as the life of Leopold von Sacher-Masoch demonstrated. Submissives and masochists can be abusive, as shown by The Duke of Burgundy.
Somewhere in Europe, sometime in the mid-20th century, two women play out elaborate sadomasochistic scenarios. Evelyn, playing the meek maid, comes to the house of Cynthia, playing the haughty mistress. Evelyn’s duties of cleaning and laundry are, inevitably, unsatisfactory, which results in punishment. Cynthia drags Evelyn to the bathroom, closes the door on the camera, and urinates on her.
Obviously, the MPAA would not give a film could give a film with an explicit golden showers scene an R-rating or even an NC-17 rating. (IMDB says it doesn’t have a rating in the USA.)
A few days later, they do it all over again. It’s a bit reminiscent of Secretary or the Munby-Cullwick relationship, a private world between two people in which mundane activities are elevated to erotic rituals.
The Piano Teacher (2001) is a drama about the relationship between a sexually repressed middle-age woman and an aggressive younger man. This is what happens when an incautious masochist encounters a real sadist.
Who was Professor William Moulton Marston? A fantasist in the tradition of Frank Baum or Lewis Carrol? A guy who ruled a secret menage a trois with his wife and his younger student? A failed academic turned huckster and pornographer with a line in psychobabble? A loving father and husband with an unorthodox, closeted family?
In the (now missing) tumblr post above, raceplay is called a “gross kink”, equated with “fetishizing little girls”, and placed outside the realm of sex positivity. Why exactly is raceplay on the other side of the line marked “edgeplay”? And where do black women fit within the current kink culture?