Sex Lies And Videotape Cast
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Original title: Sex, Lies, and Videotape
A sexually repressed woman's husband is having an affair with her sister. The arrival of a visitor with a rather unusual fetish changes everything.
John and Ann Mullany, a junior partner at a law firm and a housewife respectively, are a young, upwardly mobile couple, who most would deem to have a perfect life. Ann's outward perfection belies the fact that she is in therapy, dealing with the stress over worrying about global issues with which she has little to no control. She does not see certain things with which she does have control being problems in her life, namely her sexual repression or her disinterest in sex as an activity, that is until it manifested itself in this stress which in turn is having, what she believes, a negative impact on her marriage. What she is unaware of is that, long before her stress began, John embarked on an affair with her sister, bartender Cynthia Bishop, who she doesn't admire as being too "loud". John reconnects with a close friend from college named Graham Dalton, who, to John, appears to have lost his way in life in the years that they have not been in touch. Graham, via the method in which he deals with his emotional and sexual problems - which is also believes is being totally forthright to all concerned - has a profound effect on Cynthia, John and Ann, who in turn, especially Ann, have a profound effect on him.—Huggo
The film was playing in Berlin's largest movie theaters when the Berlin Wall fell. A lot of East Germans crossing over to West Berlin went to see it, expecting Western-style porn.
When Graham is interviewing Ann, Ann sets the camera down on the arm of the chair pointing at the window away from the couch. When Graham gets up to turn it off, it is pointing at the couch.
Graham: I remember reading somewhere that men learn to love the person that they're attracted to, and that women become more and more attracted to the person that they love.
This film is dedicated to Ann Dollard 1956-1988
Garbage
Written by Mark A. Mangini
Performed by Mark A. Mangini
A MAGNIFICENT, UNDERRATED FILM THAT'S LIKE NOTHING I'VE EVER SEEN!!!
"sex, lies and videotape" is a low-key drama that REALLY showcases Stephen Soderbergh's true talents. The film was made on a modest budget and is mainly dialogue-driven, yet I was deeply fascinated from start to finish. This is another film that sends out a message to all aspiring directors: You don't need a large budget to make a truly great motion picture! Soderbergh hasn't received worldwide fame until recently with the hit "Traffic." As much as I loved "Traffic" I urge everyone--who's curious of Soderbergh's work--go check out this initial effort.
The element that impressed me the most was the succint, yet brutally realistic dialogue. I've never been more impressed with a film's dialogue and actually screamed out, "Now THAT'S how people talk!" The interactions between each character are so intense and down to earth, and gets the audience deeply engaged. James Spader shines in this career-making performance as a documentary filmmaker who gets his rocks off filming women talking about sex. We never know why he developed this unusual interest, but that's what's so great. And the way Spader carries his character is so subtle and powerful. His character is quiet and mysterious, and he expresses this enigmatic role perfectly with every silence, every facial gesture, every tone of voice. That's another element that I loved. Soderbergh expresses to his audience that people don't always mean what they say. And you can tell by every hint of body language. During these character interplays, you get a feel for what the characters are really thinking with their every subtle nuance. And that's what creates most of the film's tension.
And of course, the film has great depth and treats its subject with the greatest of maturity. In one scene, Spader interviews this young woman who talks about her first experience with masturbation. That could've easily been transformed into something gratuitous and heavy-handed. The subjects of sex and infidelity are treated with a sense of reality, and I'm sure many couples who are involved in relationships where one of the mates are cheating will find the whole situation with Andie McDowell and Peter Gallagher haunting. Everything is low-key and some might find the rhythm slow-moving, but that's what I liked about it. It slowly unfolds and takes its time developing the characters and their situations. Many filmmakers would've taken the subject of infidelity and made it into a melodramatic soap. But Soderbergh is very patient. He never once thinks, "Maybe the audience is not interested anymore," and speeds things up. He goes at his own pace, and works with it consistently.
I don't know if others will get the same effect I did out of this movie, but appreciate a film that respects its characters and respects its dialogue. Sure, I also appreciate a film with massive entertainment value, but other times I'd rather watch something with depth and realism. This is one of those films that just has a subtle energy. Looking at "sex, lies and videotape" from the outside, it's hard to explain the power of Soderbergh's masterpiece. All I say is go see for yourself! I hope you'll be just as astounded.
My score: 10 (out of 10)
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Sex, Lies, and Videotape is a 1989 American independent drama film written and directed by Steven Soderbergh. The plot tells the story of a troubled man who videotapes women discussing their sexuality and fantasies, and his impact on the relationships of a troubled married couple and the wife's younger sister.
Sex, Lies, and Videotape won the Palme d'Or at the 1989 Cannes Film Festival, making Soderbergh the youngest solo director to win the award; he was 26 at the time. The film was influential in revolutionizing the independent film movement in the early 1990s. In 2006, Sex, Lies, and Videotape was added to the United States Library of Congress' National Film Registry, deemed "culturally, historically, or aesthetically significant".
Ann Bishop Mullany lives in Baton Rouge, unhappily but comfortably married to John, a successful lawyer. She is in therapy, where she reveals that she is repulsed by the idea of John touching her. Graham Dalton, an old close college friend of John and now a drifter with some money saved up, turns up nine years after college to visit John and perhaps live in Baton Rouge. When Graham arrives at John's he meets Ann, who learns that John has invited Graham to stay with them until he finds an apartment. When John arrives home, Graham's demeanor becomes remarkably more guarded; though he realizes he now has nothing in common with John, he and Ann get along well.
John is cheating on Ann with her sister, Cynthia, a free-spirited artist/bartender, which he rationalizes by blaming Ann's frigidity. Ann helps Graham look for an apartment; after Graham finds a place, Ann makes an impromptu visit and notices stacks of camcorder videotapes, labeled with women's names. When pressed, Graham explains that they contain interviews with women about their sexual experiences and fantasies; offended and confused, Ann quickly leaves.
The next day, Cynthia appears uninvited at Graham's apartment and presses Graham to explain what "spooked" Ann. Graham reluctantly explains the videotapes, and admits to Cynthia that he is impotent when in the presence of a woman, and that he achieves gratification by watching the videos in private. Graham propositions Cynthia to make an interview tape, assuring her that no other person is allowed to see them. She agrees, and later tells Ann about the experience; Ann is horrified, as is John when Cynthia later tells him.
Cleaning her home the next day, Ann discovers Cynthia's pearl earring in her bedroom while vacuuming, and deduces her affair with John. Furious, Ann heads over to Graham's with the intention of making a videotape. Graham objects, but she is insistent.
Later, Ann demands a divorce from John, and reveals that she made a tape with Graham. John rushes to Graham's apartment and, after attacking Graham and locking him out, watches Ann's tape. In the video, Ann says she has never felt any kind of 'satisfaction' from sex. After Graham asks if she ever thinks of having sex with other men, she admits she has thought of Graham. Ann turns the camera on Graham, who resists opening up, but soon confesses that he is haunted by his ex-girlfriend Elizabeth, and that his motivation in returning to Baton Rouge was an attempt to achieve some closure. Graham explains that he was a pathological liar, which destroyed an otherwise rewarding relationship with Elizabeth. He has since gone to great lengths to keep people at a distance and avoid relationships. Ann kisses Graham, then turns off the camcorder, ending the tape.
A chastened John joins Graham on the front porch and, with obvious pleasure, confesses to having sex with Elizabeth while she and Graham were a couple, saying "She was no saint. She was good in bed, and she could keep a secret. That's all I can say about her." After he leaves, Graham angrily destroys his camcorder and all of the videotapes.
The next day, John is summoned to his boss's office, where it's implied that he is about to be fired. Ann and Cynthia reconcile at the bar Cynthia tends, before Ann goes to Graham's and joins him on the front porch.
The film was written by Steven Soderbergh in eight days on a yellow legal pad during a cross country trip (although, as Soderbergh points out in his DVD commentary track, he had been thinking about the film for a year).
Soderbergh's commentary also reveals that he had written Andie MacDowell's role with Elizabeth McGovern in mind, but McGovern's agent disliked the script so much that McGovern never even got to read it. Laura San Giacomo, who was represented by the same agency, had to threaten to leave that agency in order to be able to play Cynthia. Soderbergh was reluctant to audition MacDowell but she surprised him, getting the role after two extremely successful auditions. The role of John would have been played by Tim Daly, but delays in completing the financing for the film led to Peter Gallagher's getting the role instead.
With a budget of only $1.2 million, a week of rehearsal and a month-long shoot in August 1988 was all Soderbergh could afford. He would later call it “the only movie I’ve ever made where I felt like I had all the money and all the time I needed.”[3] Principal photography took place in Baton Rouge, Louisiana.[4]
Sex, Lies, and Videotape opened in a limited release on August 4, 1989, in 4 theaters and grossed $155,982, with an average of 30 patrons per showing in the first 2-3 weeks; the studio released the film nationwide. The widest release for the film was 534 theaters and it ended up earning $24,741,667 in the United States,[5] and around $36.74 million worldwide.[2]
Sex, Lies, and Videotape was well received in its initial release in 1989 and holds a "certified fresh" rating of 96% on Rotten Tomatoes based on 47 reviews with an average score of 7.92/10. The consensus states "In his feature directorial debut, Steven Soderbergh demonstrates a mastery of his craft well beyond his years, pulling together an outstanding cast and an intelligent script for a nuanced, mature film about neurosis and human sexuality."[6] The film also has a score of 86 out of 100 on Metacritic based on 17 reviews indicating 'universal acclaim'.[7]
In 2006, Sex, Lies, and Videotape was selected and preserved by the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant."
At the 1989 Cannes Film Festival, the film won the Palme d'Or and the FIPRESCI Prize, with Spader getting the Best Actor Award.[8] It also won an Audience Award at the Sundance Film Festival. Soderbergh was nominated for an Academy Award for his screenplay.
The DVD includes a "director's dialogue" between Soderbergh and playwright/director Neil LaBute, recorded in 1998. LaBute's presence leads to conversational tangents unrelated to the film, although most of the tangents are related to the question of what it means to be a director, and are intended, as Soderbergh summarizes at the end, to "demystify" the process of making a film. LaBute's presence prompts Soderbergh to talk about reverse zooms, dolly shots, how actors have varying expectations of their director, the difference between stealing from a film you admire and paying tribute to it, shooting out of sequence, how the role of a director changes as their success (and their budgets) grow, and other filmmaking topics.
The movie was presented as a staged play in Hollywood at the Next Stage from December 13, 2003 to January 17, 2004. Directed by Seth Wiley and a cast that featured Amanda Bauman (Ann), Emily Williams (Therapist), Shauna Slade (Cynthia), Justin Christenson (Graham), and Jack Sundmacher (John).[17]
A sequel was announced in 2001 and Catherine Keener was the first actor attached to the project, named How to Survive a Hotel Room Fire. It was billed by Miramax as "an unofficial sequel of sorts."[18] In October it was announced the movie would star Julia Roberts, David Hyde Pierce, and David Duchovny. After the September 11 attacks, the title was changed to The Art of Negotiating a Turn.[19] Miramax head Harvey Weinstein did not like the new title, and consequently Soderbergh suggested the title, Full Frontal, under which the film was released.[20]
Content is available under CC BY-SA 3.0 unless otherwise noted.
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Sex Lies And Videotape Cast
