9 1 2 weeks love scene

9 1 2 Weeks Love Scene Description

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9 1 2 weeks love scene

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9 1 2 Weeks Love Scene Video

Nine and a half weeks (Jack Nitzsche)

They advance into arenas of lovemaking often described in the letters column in Penthouse, and Elizabeth, for the most part, is prepared to let John call all the shots.

He wants to be in control, and as she surrenders to him, she abandons herself to dreamy, erotic absentmindedness. John is nothing if not inventive.

In the scene that is likely to be the most talked-about in this movie, he blindfolds her and feeds her all kinds of strange foods - sweet and sour, different textures, each one a surprise to her.

It's astonishing the way the movie makes this visual scene so tactile. John calls her at unexpected times, orders her to unorthodox rendezvous, and as she follows his instructions, they both seem to retreat more deeply into their obsession.

The movie contrasts their private life with the everyday world of her work: with the small talk and gossip of the art gallery, with a visit she pays to an old artist who lives like a hermit in the woods, with the intrigue as her ex-husband dates another woman in the gallery.

This everyday material is an interesting strategy: It makes it clear that the private life of Elizabeth and John is a conscious game they're playing outside of the real world.

Eventually, it is Elizabeth's hold on the real world that redeems the movie - makes it more than just a soft-core escapade - and sets up the thoughtful and surprising conclusion.

As long as it is understood that she and John are engaged in a form of a game, and are conspiring in a sort of master-slave relationship for their mutual entertainment, Elizabeth has no serious objections.

But as some of John's games grow more challenging to her own self-respect, she rebels. Does he want to engage her mind and body in an erotic sport, or does he really want to edge her closer to self-debasement?

There are two times that Elizabeth draws the line, and a third time that she chooses her own independence and self-respect over what begins to look like his sickness.

That's what makes the movie fascinating: Not that it shows these two people entering a bizarre sexual relationship, but that it shows the woman deciding for herself what she will, and will not, agree to.

I have a few problems with certain scenes in the film. There is a moment when John and Elizabeth run through the midnight streets of a dangerous area of Manhattan, chased by hostile people, and take refuge in a passageway where they make love in the rain.

The scene owes more to improbable gymnastic events than to the actual capabilities of the human body. There is another scene in which John and Elizabeth go into a harness shop, and John selects and purchases a whip, while the shop employees do double takes and Elizabeth stands, wide-eyed, as he whooshes it through the air.

There is no subsequent scene in which the whip is used. I do not argue that there should be; I only argue that, in a movie like this, to buy a whip and not use it is like Camille coughing in the first reel and not dying in the last.

The actors are taking a chance in appearing in it. Plots like this make audiences nervous, and if the movie doesn't walk a fine line between the plausible and the bizarre, it will only find the absurd.

Rourke's strategy is to never tell us too much. He cloaks himself in mystery, partly for her fascination, partly because his whole approach depends on his remaining a stranger.

Basinger's strategy is equally effective, and more complicated. Physically, she looks sensuous and luscious; if you saw her in "Fool for Love," you won't be surprised by the force of her first appearance here.

But if she'd just presented herself as the delectable object of all of these experiments, it would have been a modeling job, not acting.

In the early scenes, while she's at work in the gallery, she does a wonderful job of seeming distracted by this new relationship; her eyes cloud over and her attention strays.

But one of the fascinations of the movie is the way her personality gradually emerges and finds strength, so that the ending belongs completely to her.

Another new movie, " The Hitcher ," is also about a sadomasochistic relationship. Because it lacks the honesty to declare what it is really about, and because it romanticizes the cruel acts of its characters, it left me feeling only disgust and disquiet.

Roger Ebert was the film critic of the Chicago Sun-Times from until his death in She takes this imperative even further by masturbating at her workplace at the designated time.

Elizabeth wants to include John in her life and meet her friends, but he makes it clear he only wishes to see her in the evenings, and instructs her to see her friends in the daytime.

Elizabeth's confusion about John increases when he leaves her alone at his apartment. She examines his closet until she discovers a photograph of him with another woman, April Tover.

John asks her if she went through his things, declaring that he will punish her. He then sexually assaults her.

Elizabeth's heightened need for psychosexual stimulation drives her to stalk John to his office. When they have lunch and she mentions she would like to "be one of the guys," he arranges for her to crossdress for a rendezvous.

On leaving the establishment, two men hurl a homophobic slur when they mistake John and Elizabeth for a gay couple. A fight ensues. Elizabeth picks up a knife from one of the attackers and stabs one of them in the buttocks and both attackers flee.

After the fight, Elizabeth reveals a wet tank-top and has sex onsite with John with intensely visceral passion.

Following this encounter, John's sexual games acquire sadomasochistic elements. Rather than satisfying or empowering Elizabeth, such experiences intensify her emotional vulnerability.

While meeting at a hotel room, John blindfolds her. A prostitute enters the room, and starts caressing Elizabeth as John observes them. The prostitute removes Elizabeth's blindfold and starts working on John.

Elizabeth violently intervenes, and flees the hotel, with John in pursuit. They run until they find themselves in an adult entertainment venue.

Elizabeth enters a room where a group of men are watching a couple have sex. Elizabeth, visibly upset, notices John watching her, and she starts kissing the man next to her.

This affects John, and he moves towards her. Moments later, John and Elizabeth gravitate towards each other, finding themselves interlocked in each other's seemingly inescapable embrace.

Elizabeth's exhibition with the artist Farnsworth finally happens, but it is clear she is falling apart. In a sad scene, Farnsworth, clearly uncomfortable at the party, watches Elizabeth hiding in a corner, crying.

Elizabeth leaves the party and calls John. The following morning, we see Elizabeth has spent the night at John's. She gets up, and slowly packs her belongings from his apartment.

When John realizes she is leaving, he attempts to share with her details about his life. Elizabeth tells him that it is too late as she leaves the apartment.

John begins his mental countdown from 50, hoping she will come back by the time he is finished. The film was a significant departure from the much darker tone of the novel it was based upon.

The book culminates in a quasi-rape scenario which leaves Elizabeth in mental anguish, and he takes her to a mental hospital—never to return to her again.

The film ends on a sombre tone, and there is no mention of the psychiatric breakdown that John inflicted upon his lover, though her mental anguish is increasingly depicted near the end of the film.

The film was championed by some critics. Over time, some critics have warmed to the film and audiences gave it somewhat of a legacy thanks to its success in the rental market.

The film gained a huge following on home video, and in spite of its reception, both Basinger and Rourke became huge stars.

The film is recognized by American Film Institute in these lists:. Music for the score was composed by Taylor and Jonathan Elias.

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Eventually, it is Elizabeth's hold on the real world that redeems the movie - makes it more than just a soft-core escapade - and sets up the thoughtful and surprising conclusion.

As long as it is understood that she and John are engaged in a form of a game, and are conspiring in a sort of master-slave relationship for their mutual entertainment, Elizabeth has no serious objections.

But as some of John's games grow more challenging to her own self-respect, she rebels. Does he want to engage her mind and body in an erotic sport, or does he really want to edge her closer to self-debasement?

There are two times that Elizabeth draws the line, and a third time that she chooses her own independence and self-respect over what begins to look like his sickness.

That's what makes the movie fascinating: Not that it shows these two people entering a bizarre sexual relationship, but that it shows the woman deciding for herself what she will, and will not, agree to.

I have a few problems with certain scenes in the film. There is a moment when John and Elizabeth run through the midnight streets of a dangerous area of Manhattan, chased by hostile people, and take refuge in a passageway where they make love in the rain.

The scene owes more to improbable gymnastic events than to the actual capabilities of the human body. There is another scene in which John and Elizabeth go into a harness shop, and John selects and purchases a whip, while the shop employees do double takes and Elizabeth stands, wide-eyed, as he whooshes it through the air.

There is no subsequent scene in which the whip is used. I do not argue that there should be; I only argue that, in a movie like this, to buy a whip and not use it is like Camille coughing in the first reel and not dying in the last.

The actors are taking a chance in appearing in it. Plots like this make audiences nervous, and if the movie doesn't walk a fine line between the plausible and the bizarre, it will only find the absurd.

Rourke's strategy is to never tell us too much. He cloaks himself in mystery, partly for her fascination, partly because his whole approach depends on his remaining a stranger.

Basinger's strategy is equally effective, and more complicated. Physically, she looks sensuous and luscious; if you saw her in "Fool for Love," you won't be surprised by the force of her first appearance here.

But if she'd just presented herself as the delectable object of all of these experiments, it would have been a modeling job, not acting.

In the early scenes, while she's at work in the gallery, she does a wonderful job of seeming distracted by this new relationship; her eyes cloud over and her attention strays.

But one of the fascinations of the movie is the way her personality gradually emerges and finds strength, so that the ending belongs completely to her.

Another new movie, " The Hitcher ," is also about a sadomasochistic relationship. Because it lacks the honesty to declare what it is really about, and because it romanticizes the cruel acts of its characters, it left me feeling only disgust and disquiet.

Roger Ebert was the film critic of the Chicago Sun-Times from until his death in In , he won the Pulitzer Prize for distinguished criticism.

Mickey Rourke as John. Christine Baranski as Thea. David Margulies as Harvey. Margaret Whitton as Molly. Kim Basinger as Elizabeth. Roger Ebert February 21, Now streaming on:.

Elizabeth's heightened need for psychosexual stimulation drives her to stalk John to his office. When they have lunch and she mentions she would like to "be one of the guys," he arranges for her to crossdress for a rendezvous.

On leaving the establishment, two men hurl a homophobic slur when they mistake John and Elizabeth for a gay couple.

A fight ensues. Elizabeth picks up a knife from one of the attackers and stabs one of them in the buttocks and both attackers flee.

After the fight, Elizabeth reveals a wet tank-top and has sex onsite with John with intensely visceral passion. Following this encounter, John's sexual games acquire sadomasochistic elements.

Rather than satisfying or empowering Elizabeth, such experiences intensify her emotional vulnerability.

While meeting at a hotel room, John blindfolds her. A prostitute enters the room, and starts caressing Elizabeth as John observes them.

The prostitute removes Elizabeth's blindfold and starts working on John. Elizabeth violently intervenes, and flees the hotel, with John in pursuit.

They run until they find themselves in an adult entertainment venue. Elizabeth enters a room where a group of men are watching a couple have sex.

Elizabeth, visibly upset, notices John watching her, and she starts kissing the man next to her. This affects John, and he moves towards her.

Moments later, John and Elizabeth gravitate towards each other, finding themselves interlocked in each other's seemingly inescapable embrace.

Elizabeth's exhibition with the artist Farnsworth finally happens, but it is clear she is falling apart. In a sad scene, Farnsworth, clearly uncomfortable at the party, watches Elizabeth hiding in a corner, crying.

Elizabeth leaves the party and calls John. The following morning, we see Elizabeth has spent the night at John's.

She gets up, and slowly packs her belongings from his apartment. When John realizes she is leaving, he attempts to share with her details about his life.

Elizabeth tells him that it is too late as she leaves the apartment. John begins his mental countdown from 50, hoping she will come back by the time he is finished.

The film was a significant departure from the much darker tone of the novel it was based upon. The book culminates in a quasi-rape scenario which leaves Elizabeth in mental anguish, and he takes her to a mental hospital—never to return to her again.

The film ends on a sombre tone, and there is no mention of the psychiatric breakdown that John inflicted upon his lover, though her mental anguish is increasingly depicted near the end of the film.

The film was championed by some critics. Over time, some critics have warmed to the film and audiences gave it somewhat of a legacy thanks to its success in the rental market.

The film gained a huge following on home video, and in spite of its reception, both Basinger and Rourke became huge stars. The film is recognized by American Film Institute in these lists:.

Music for the score was composed by Taylor and Jonathan Elias. Original music for the movie was also written by Jack Nitzsche , but his compositions are not included on the soundtrack.

Winston Grennan 's reggae "Savior" as well as Jean Michel Jarre 's "Arpegiator", played during the sex scene on the stairs in the rain, were not included on the record.

In , Warner Bros. In , a sequel called Love in Paris was released via direct-to-video. From Wikipedia, the free encyclopedia.

Theatrical release poster.

9 1 2 Weeks Love Scene -

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9 1 2 weeks love scene

9 1 2 Weeks Love Scene Video

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