Halle Berry Monster Ball Scene

Halle Berry Monster Ball Scene
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Billy Bob Thornton Recalls 'Very Heavy' Sex Scene With Halle Berry
Aug 12, 2014, 05:43 PM EDT | Updated Aug 12, 2014
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"Monster's Ball" has become an enduring part of cinema history for two reasons -- Halle Berry's unforgettable Oscar speech and the iconic sex scene she shared in the film with co-star Billy Bob Thornton.
When Thornton dropped by HuffPost Live to discuss his Emmy nomination for "Fargo," he and host Ricky Camilleri chatted about what it was like to film that scene, which has become one of the most popular sex scenes on the Internet .
"It felt so real when we were doing it that [we felt] the heaviness surrounding the circumstances in the story," Thornton said. "I think maybe that's why it comes across so well on screen, because it was two desperate human beings in this moment alone, and we kind of were alone."
There's obviously some excitement in filming an intimate moment with one of Hollywood's sexiest women, but Thornton said because the film was so dark, he felt "pretty exposed" rather than titillated. Still, it was a thrill to work on, he said.
"When I was growing up, I obviously didn't know who Halle Berry was, but if I had known I would have made sure it happened. I would have written 'Monster's Ball' myself immediately," he said.
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Halle Berry instantly connected with Monster's Ball, which won her the Best Actress Oscar, though those around her advised against taking the role.
Actress Halle Berry was advised against taking her Oscar-winning role in Monster's Ball . Monster's Ball was a low-budget film written by first-time screenwriters Milo Addica and Will Rokos. It was directed by Marc Forster, who was still early in his career but has since gone on the helm films like Stranger Than Fiction and Quantum of Solace . Monster's Ball also featured a stellar cast alongside Berry, including Billy Bob Thornton , Peter Boyle, Sean' Diddy' Combs, and Heath Ledger.
The plot of Monster's Ball saw Sonny (Ledger) take his own life, spurring his racist prison guard father, Hank (Thornton), to rethink his ways. Hank then finds himself falling in love with Leticia (Berry), the wife of Lawrence (Combs), the last prisoner he executed. The film tells an emotionally gutwrenching story, with Berry giving an astounding performance that earned her a Best Actress Oscar, making history in the process as the first African-American woman to win the award. However, those around Berry didn't want her to take the role.
While breaking down her career for Vanity Fair , Berry discussed Monster's Ball , a significant milestone. Berry felt instantly connected to the character, saying, " I intrinsically knew who that character was, what she was struggling with, her brokenness. " It also seemed like a no-brainer for Berry, who said, " I have to do it. " However, she had people around her advising against it, saying " It's very risqué, " and that it may feature things " you don't want to do. " In addition, Berry was told it could end her career, though she was ready to take the risk, saying, " I'm going to end my career doing something that inspires me, that ignites me, that excites me. " Check out Berry's comments below:
"When I first read Monster’s Ball, it was very much similar to how I felt about when I read Bruised. I thought, ‘I have to do it, I’m going to die if I don’t do this.’ I saw myself all over it. I intrinsically knew who that character was, what she was struggling with, her brokenness, her fracturedness. I understood the battle. I understood her fight in life and, right away, I said, ‘I have to do it.’ But then people around me said, ‘Ooh, it’s a very low-budget movie. It’s very risqué. There’s some sexual components to it that maybe you don’t want to do. The subject matter, it’s got a lot of racial components to it. I don’t know if you want to touch this.’ And those were all the reasons why I loved it. And I thought, ‘If this ends my career,’ like many people thought it would, I thought, “well, I’m going to end my own career on my own volition. I’m going to end my career doing something that inspires me, that ignites me, that excites me.’ And it was a risk and I love taking risks and I’ve always known, if you don’t risk big, you can’t win big. So, I was prepared to take the risk."
Berry's historic Oscar win for Monster's Ball shows she was ultimately correct in her decision, though it was not the only accolade the film brought her. Berry's role saw her nominated for a BAFTA, the AFI Awards Actor of the Year, and a Golden Globe. In addition to her Oscar, Monster's Ball also won Berry Best Actress at the Berlin International Film Festival, Outstanding Performance by a Female Actor in a Leading Role from the Screen Actors Guild, and Best Actress from the National Board of Review.
The concerns presented to Berry before taking the role were valid, given that Monster's Ball features openly racist characters, one of whom is the protagonist, and graphic sexual content. However, the film connected with audiences who saw the emotional journey taken by a man who begins to see the evil in his racist ways, making changes in his life to better himself and helping Berry's Leticia in the process. Thanks in no small part to Monster's Ball , Berry's career has continued to flourish. Since her Oscar win, she has appeared several more times as Storm in the X-Men franchise , acted alongside Keanu Reeves in John Wick: Chapter 3 , and even taken up the director's chair with her new film Bruised . While the trepidation surrounding the role in Monster's Ball may have come from a supportive place, Berry's risk-taking nature helped her make history.
Tim McClelland is a TV/Movie News Writer for Screen Rant. His screenplays have accrued more than 25 awards and selections in competition, including Best Original Screenplay at the 2021 Hollywood Blood Horror Festival and Best Horror Feature Screenplay 2020 from Bridge Fest, with his work being hailed as "complex, layered, and bloodcurdling." He got his start when his short biography of Augusten Burroughs was published in 2008, and his career has seen him write video game walkthroughs, web content, and interactive fiction for mobile platforms. He even found himself with one of those nifty IMDB credits for a short film he wrote.

Tim resides in Durham, NC, with a rabid passion for film, TV, video games, and comics, all of which he owns way too many of, and those collections are only rivaled by his overabundance of LEGO. He also happens to be an ordained Dudeist Priest, working to spread The Big Lebowski's relaxed worldly philosophy, "Just take it easy, man." Find Tim on Letterboxd or Twitter as tdm5003.

If movies could be convicted of a crime,
this one would be on Death Row.

OK, “Monster’s Ball” is beautifully shot. And the music is haunting in this tale of race, sex, violence and twisted lives in a small town in post-Sixties Georgia.

And yes, there is some great acting by Halle Berry, Billy Bob Thorton, P. Diddy and newcomer Coronji Calhoun. And yes, Halle Berry shows her breasts in the infamous sex scene — more on that later.

But even with all of that, the writers of the script should be charged with a crime for the way they created the lead Black female character Leticia, played by Berry. She is written to be as weak as a wet paper bag, so weak that you wonder if there isn’t some twisted white male fantasy about Black women going on here.

For one thing, Berry’s character Leticia is horribly insulted to her face by her white boyfriend’s father, an insult involving sex and race, but Leticia does nothing about it but storm out of a house.

For another thing, she found out that her white boyfriend (Hank) had been
exceedingly dishonest with her: He was a prison official who directed the execution of her husband — and he never tells her! His silence is morally indefensible, but he did not pay any price for this gross dishonesty to this Black woman, which continued throughout the film — and she did not require anything of him for that crime when she finally found out.

This weakness even carries over into the sex scene you have heard so much
about. In the middle of it, the scriptwriters had Leticia say to Hank, “I want you to make me feel good.” More than once. So even in the midst of the most talked-about scene in the film, Leticia is still written to be dependent on someone else — even for a good screw.

Oh — about those boobies: They aiight. The scene could have worked just as well without exposing them.

On her way to the top of her game, Berry has exposed her breasts in two films, this one and “Swordfish”. Does she worry about what others think? In one interview, Berry says: “Without sounding flip or rude, I don’t really care.”

Well, Halle, flip the script:

Julia Roberts is at the top of HER game, and she has exposed her breasts
not at all to get there. Not even in “Pretty Woman”, where she played a prostitute. Even in the bathtub scene.

And that reminds me — in “Monster’s Ball”, there are two women who expose
their breasts — Leticia and a white prostitute.

Hmmmmmm.

What understanding did these white scriptwriters have of Black life? If you
are Black and poor and female, like Leticia, and you are down and out and alone, who do you call on? Your family, your community, your Creator. But as writer Rori Blakeney points out, in “Monster’s Ball” the scriptwriters created a character who has no extended family around her. A character who does not turn to her community for help. A character whose husband was executed and whose son was killed and who is about to get evicted from her place, and who only turns to a white male for aid.

At four different points in the film, Leticia is without a car, and is out on the street in the small town and in need of a ride. The script has Hank just happening to drive by — not once, not twice, not three times, but all four times. What an easy out for the scriptwriters. What a poor plot for us.

By this time, the script has turned into a pile of crap with this white male showing up — like in too many other films — as the savior.

Also, the writers have Hank’s son dead and buried before the family cleans up his blood from the living room furniture. Excuse me?

And don’t get me started about the use of the n-word. In one tense scene,
Hank uses the term against a fellow prison guard. That’s real. No problem with that. But the Black guard says nothing about it, does nothing about it. Does Hank later pay any price for this? None.

And it gets deeper.

Hank, Leticia’s boyfriend, likes to eat chocolate ice cream with a white plastic spoon. What’s the big deal, you ask? On a movie set, nothing is accidental; everything has to be selected. So do we have some race and color symbolism at work here in the chocolate ice cream and the white spoon?

As writer Blakeney points out, “chocolate ice cream and a plastic spoon could possibly represent the fact that Hank always wanted a Black woman. In other words, the spoon serves as a phallic symbol
that is always dipping into the chocolate.”

The race game even shows up in that old symbol of the good guys in the
white hats.

Leticia’s Black husband is executed, and she later hocks her wedding ring at a pawn shop, runs right across the street to another shop and uses the money to buy her white boyfriend a white cowboy hat.

We got that message: Destroy the Black male, get rid of any memory of him, take what you have left and use it to pump up the white male.

All that color and race symbolism is deep. Where is psychiatrist Frances Cress Welsing http://www.ayaed.com/hype/babyboy/2.htm when we need her?
And where can you get tools to analyze these films? http://www.ayaed.com/hype/measure1.html

You think these writers have little appreciation of only Black folx? Even
white females don’t survive the scriptwriters’ slash and burn.

There are three main white females: The white prostitute. The unseen white
grandmother who committed suicide. The unseen white mother who is spoken of
so badly. And none of them are likable characters.

This film is not for kiddies. There is a graphic execution by electric chair, an explicit suicide, the death of a child, more than one soul-less sex scene. Characters are emotionally and physically abusive. We don’t want our children to learn to smoke and drink, but those habits are shown here
as normal and acceptable.

So why were there so many children in the Atlanta theater where I saw this — even 4-, 5- and 6-year olds? Because so many adults brought them.

Not all the crimes were on the screen.

On the surface, this flick is about sex, race, crime and violence. Underneath, it is about sex, race, crime and violence. What are the tools that while males use to maintain their supremacy? Sex, race, crime and violence.

By the end of the film, the Black male is dead, the Black female has lost her husband, her son and her house, and she has been thoroughly walked on by the white male, and the white male is eating that chocolate ice cream with that white spoon, and even feeding it to the helpless and child-like Black female.

If this film had said during the opening credits, “This film is about white male supremacy,” they would not have had to change a single thing to fulfill that declaration.

By the closing credits, the only one still standing and “whole” and not dependent is the white male.

And that’s a crime.

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