Film, Reviews

DEEP WATER un-erotically fails to recharge a lost genre

If there is a film genre that has gone the way of the dodo in recent years, it is the erotic thriller which Deep Water director Adrian Lyne practically solo-propagated between the 1980s-1990s.

He lensed some of the best and most renowned. Fatal Attraction, probably the signature example of the genre that isn’t Basic Instinct. 9 & 1/2 Weeks which turned Kim Basinger into the Hollywood sex symbol of that decade. Indecent Proposal, which did similar for Demi Moore at the turn of the 90s. They are films which even if people haven’t seen these days, they are ubiquitous cultural touchstones within cinema that recall a different age. You might have flickering memories of Moore being seduced over a pool table or Glenn Close the bunny boiler.

Lyne last made a film, a lesser well known vehicle in the genre called Unfaithful, twenty years ago exactly, at a time not just cinema but media at large was undergoing the early beginnings of the metamorphosis we have seen in the 21st century. Some critics have suggested the decline of the erotic thriller, both Lyne’s classier big budget efforts but equally a litany of cheap, fairly sleazy soft core knocks offs which now litter Amazon Prime Video, was down to the internet’s proliferation and liberation of pornography out of the back alley stores and onto people’s desktops and laptops.

There could well be some truth to this. Are we aroused in the same way as we enter the 2020s? Lyne’s return with Deep Water looks to answer this question.

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Film, Writing

Film Review: LE MANS ‘66 (2019)

Akin to most movies about sport, Le Mans ‘66 aka Ford vs Ferrari is not really about the field in question, motor racing. It is about men. James Mangold’s movie is almost obnoxiously masculine in an era where, and not without good reason, it is far from cache to be so. It is, quite deliberately, a throwback.

Mangold’s film, which tells the real-life story of the British driver who helped an American racing firm win the famed Le Mans race in 1966 for the Ford Motor Company, is a muscular slice of high octane drama. Following the sun-dappled haze of 1969 in Quentin Tarantino’s Once Upon a Time in Hollywood, Mangold gives us a hot, bleached Los Angeles slick with oil and tarmac; a mid-60’s in the throes of a culture war. Ford, headed by Tracy Letts’ iron clad descendant Henry Ford II, are bastions of pure-blooded American conservatism, a Stateside corporate aristocracy who consider modern pop-culture icons such as James Bond “a degenerate”. Christian Bale’s British-born mechanic and driver, Ken Miles, is an unashamed team player. “He’s a beatnik” a Ford executive describes him as but, in truth, the family man Ken simply isn’t on brand.

Le Mans ’66 is, therefore, about masculine individuality. In some sense, David works for Goliath in this story, and the conflict isn’t really Ford vs Ferrari at all. That’s not the beating heart of Mangold’s film, and is only being sold as the title in the US because of the lack of modern associations with the name Le Mans. Framing the film as a conflict between the most famous American car company and legendary European racing firm in the world is an easy read, but the real battle is between individual American exceptionalism and a growing corporate hegemony in a post-war, pre-neoliberal space. Henry Ford represents a world people are still battling against in the Western hemisphere and, oddly enough, Mangold’s film doesn’t necessarily reflect a universe in which the little man can win.

If Le Mans’ 66 is a David v Goliath story, make no mistake… Goliath wins.

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