Sexo, mentiras y video

Spader's character was the reason I enjoyed the film so much. I could identify with him and his dilemma. It seemed he felt like a stranger in an even stranger land. Who were these humans that seem so happy in the same world he could not find happiness within? What is this life we live? More importantly, what is the point? Why bother? His great battle with existence was a philosophical one. He, like myself, felt infinite sadness over the knowledge that are no concrete answers...

The movie is also interesting because it attacks the main sexual organ, the mind. Graham while trying to distance himself from the human experience by capturing sex confessionals on videotape, perhaps unwittingly became more intimate with his "partners." Roger Ebert points out that the films' argument is that conversation is better than sex.

Personally, I think the movie is about trying to find happiness with another person. Some Modest Mouse song lyrics come to mind. "And it's hard to be a human being/ And it's harder as anything else/ and I'm lonesome when you're around/ I'm never lonesome when I'm by myself" Graham finds it hard to be a human being and live in this human world full of values that he finds strange, confusing, and most importantly unfulfilling. What do you do when your ideology and needs don't mesh in the society you live within? How does one deal with feelings of loneliness in a society that spurns him? This movie is about one man's way.

James Spader does such an excellent job as this character. In fact, great acting all around by the entire cast and excellent writing and directing by Mr. Soderbergh. Go see this movie now!

"The last time I was happy, I got so fat."

If you chuckle during Andie MacDowell's famous line in Sex, Lies and Videotape, you'll probably think of her sister, Laura San Giacomo as the lead. If you laugh yourself silly, knowing Andie's confession is also true for you, you'll probably think of her as the lead. My weight has always been a direct correlation of my happiness, so that line been added to my household phrases!

If you've never seen it, you'll have to put on your 1989 goggles before renting Steven Soderbergh's breakthrough indie movie. By today's standards, this movie is tame. In 1989, it was shocking and actually considered quite nasty. It was a time before the internet, before photos and videos were constantly taken and spread around, and a time when movies didn't always show nudity and graphic sex scenes. By today's standards, it's not really an oddity if a young man prefers to film and watch sexual encounters rather than to participate in them, but in 1989, James Spader's character was very unusual. Just like most photographers or videographers, he uses the lens to distance himself from situations. He asks people questions about their sexual experiences, and when the women answer him honesty, it's supposed to be very daring. It was daring in 1989!

The other part of the plot is a love triangle involving the dreamy Peter Gallagher. He's married to Andie, but having an affair with her sister, Laura. I've played Laura's part in two separate college reproductions, so I've studied the script probably far more than the average viewer. There's quite a bit to analyze in Soderbergh's script, which film students have been discussing for thirty years. It's a bit of a love-it-or-hate-it movie, so if you watch it and shrug, don't feel like you're missing something. There are plenty of people who think it's overrated and weird, just as there are plenty of people who think it's a staple in indie movies.

A strange, but very rewarding movie. Soderbergh has went on to create many wonderful films since "Sex, Lies and Videotape" but what has captured my attention about this film is his how he kept the film simple and concentrated on the details around the four characters. He mentions in the commentary of his influence of Eric Rohmer (who created the popular films as part of his "Six Moral Tales") and the long dialogue between characters. Maybe it made no impression to me back then but now, any director who can have their characters engage in dialogue with meaning and profoundness is wonderful.

Andie MacDowell was the surprising star because in the beginning, I thought she would be the typical jilted housewife but we see her character emerge as one that is confused to one that finally gains perspective. Laura San Giacomo did well in portraying the free-will Cynthia (which she would go on to do again in "Pretty Woman"), John Mullany (Peter Gallagher) was the ultimate sleezeball and for Graham (Spader), his character was mysterious and although the viewer doesn't know exactly what had happen to him, it's how the character was changed after changing the character he videotaped. As the film itself, one can see how this independent film helped revolutionize indie films and allowing media coverage. Sure, we see independent films, art-house films receive media coverage today but in the context of independent films getting seen by a wide audience, "Sex, Lies, and Videotape" was definitely instrumental in being part of that small group of films that Hollywood would give a chance to.

Overall rating: 8 out of 10.

Steven Soderbergh's debut film is voyeuristic, intense, gripping, and intriguing. It's the story of four people. Ann is a sexually repressed woman with an obsession for cleanliness and organization. Her husband, John, is a lawyer and he is cheating on his wife with her own sister, Cynthia. Ann lives oblivious to what is going on behind her back, despite her deteriorating sex life with John. But things really start to change Graham, an old friend of John's comes in town to visit. Graham is a strange man with an odd set of ideals who also has a fetish of filming women talk about their sexual fantasies. When these personalities conflict and intertwine things start to change dramatically and the tension rises all the way through Soderbergh's ingenious script and his quiet yet intensely focused direction of some fantastic performances.

sex, lies, and videotape is a very risky film which graphically examines sex with the utmost seriousness. In this film sex isn't made into a joke like American Pie, and it isn't turned into some sadistic and grotesque motif like Se7en or Silence of the Lambs. Sex is looked at under a very dramatic and very sincere scope which treats it like any mature and significant piece of subject matter. This is what sets sex, lies, and videotape apart from so many other films of its nature. It is serious, but doesn't give the feeling that it takes itself too seriously. It has to be serious and it just wouldn't feel right for this film to not be as sincere as it is.

The conversations Soderbergh has constructed here are something that need to be serious and need to be focused in order to get the artistic point across. And it is amazing how well the script is constructed. The dialouge feels incredibly real and it knows just when to pull out all of the dramatic stops. The script doesn't feel like it needs to be profoundly eloquent at all times. It is lighthearted and casual at the appropriate times, like when Graham first arrives and he, Ann, and John all sit around the dinner table casually discussing the past, the future, and life in general. But where the real genius comes in is when we realize that despite the present conversation being casual on the surface there is that constant underlying tension which escalates throughout the entire film until it all comes into fruition at the end of the film. The script has all these intelligible nuances that are absent in most "serious" films these days; something you don't really realize is missing until you see how well it can be done in a film like sex, lies, and videotape.

Now obviously this is a very character driven story and I will admit that it is hard to build an emotional connection with any of the characters. To call them imperfect would be a grotesque understatement. The four of them are incredibly flawed people who in retrospect, aren't really good people at all. They all have serious issues that affect their lives dramatically and create situations that are inescapably awful for everyone involved. But what the film lacks in emotion it makes up for in sheer intelligence. The film is so ingeniously crafted that a strong emotional connection to the characters would only cause a distraction to the film's clever craftsmanship.

It's a common misconception that you need to feel strong sympathy for your protagonists in order for a film to be good. sex, lies, and videotape doesn't intend for you to connect with these people. We are only supposed to be fascinated and awestruck at their twisted and bizarre lives. And so to me, this film does its job and it does it well. However, you do feel a strong connection to the film itself and you do want to know what will happen to these people because of the enthralling way this story is told. The absolute beautiful intensity of the script with draw you in so strongly that you won't want to miss a second of it. There comes a point where you begin to feel you must know what happens to these people because you must know how Mr. Soderbergh intends on wrapping this intriguing drama up.

sex, lies, and videotape is well written, well directed, and well acted so its already set up to be a great film. But then you add the pure ingenuity of the way the story is told and what a profound examination of human relationships it is and it is now a fantastic film. This isn't one of those films where you pick out particular scenes that you really liked or specific moments that really wowed you. The entire film cumulatively works together as one single wow moment that you just adore. This isn't a film that you will be strongly moved by and it won't bring you to tears, but it isn't trying to. It is a clever and sincere drama that treats mature adult subject matter the way it should be treated. Not as a joke, but as a basis for ingenuity.

Why does Graham prefer iced tea so much? He offers it to Ann when she visits him for the first time at his apartment. Does the same when Cynthia pays him a visit. When he and Ann are having their first real conversation in the restaurant there's a glass of iced tea next to him, while Ann has a glass of white wine. Besides being a probable leitmotif, it's something that, seems to me is a part of Graham's character. He comes to live in that town to get away, to find a closure to his past. He ends up providing closure to the lives of these three characters. Let's imagine a scenario sans Graham - a phase in the life of a woman whose husband is having an extra-marital affair with her sister. She's suspicious but he denies. She finds evidence to prove that he's having an affair with her sister and decides she's had it, she's leaving her husband. Do you think this might have been the conclusion of this scenario? I think not. As Ann rightly says to Graham, that she would have left her husband anyway, but the reason she's doing it now, is because of him. She thinks sex is overrated, her sister seems to believe in the opposite and here comes a man whose profession, for all practical purposes is having women talk about sex. Ann's therapist is a foil to Graham. While he dispenses his advice and listens patiently to Ann, Graham is the all important catalyst that helps her make a practical decision in her life. He also aids in her real sexual awakening. Before Graham, sex, for Ann was incidental. Now it takes on a different perspective.

One might say that in making women talk so intimately to him about sex, he sort of breaks the ice on a topic that is more or less socially tabooed. His is a presence that evokes trust in the most introverted of women, making them confide in him and by doing so have an almost cathartic experience. I think the iced tea motif of Graham's character fits in here. Beyond his trademark black-shirt, blue denim attire, it is the only other element related to him that is conspicuously stated. That's my conjecture anyway!

Needless to say, James Spader is superb as Graham. He manages to evoke many of the nuances of Graham's character by subtle, volatile facial expressions. Andie McDowell is also great as Ann. Hers is a really sensitive and touching performance. Peter Gallagher and Laura San Giacomo are both equally good. The music for this film is appropriately minimal and poignant. Great effort by Soderbergh, who I'm glad to hear has come back to his experimental film roots with his recent film 'Full Frontal'.