Steven Shainberg's "Secretary" is one of those rare small-budget movies that deliver the impact of an A-list blockbuster. Watching it, you feel its powerful images and plot material would be comfortable in the hands of megastars in a budget-straining production.
We are asked to consider the plight of Lee Holloway (Maggie Gyllenhaal), a young woman recently released from a mental institution, and her boss Edward Earle (James Spader), a martinet strung so tight he's a candidate for the rubber room himself.
She's the eponymous Secretary, he's the lawyer she works for. Edward is a stickler for perfection -- so much so, he keeps a supply of red sharpies in his desk drawer to circle typing errors in the letters his secretaries produce. One crucial day, he orders Lee into his office, closes the door, and presents her with a typo-ridden letter that came from her typewriter. That's right, this dinosaur is so antedeluvian that he refuses to allow computers in his office -- only typewriters.
Edward orders Lee to bend over his desk and look closely at the letter. When she does so, he gives her a sound spanking. She takes it, never budging to resist.
Probably most young women today would head straight for the nearest feminist lawyer's office and file a harrassment complaint. But not this young woman. Lee is a self-mutilant, and the spanking visited on her acts as a release of her masochistic needs. Maggie Gyllenhaal -- in a virtuoso performance -- makes us feel the secretary's relief. We can feel the cathartic effects of the spanking on her psyche.
But "Secretary" isn't about spankings, it's about redemption. Lee and Edward, now drawn together in a symbiotic relationship, realize that they are meant for each other.
Lee is first to realize the truth. Edward tries to deny his redemption, even going so far as to try to fire Lee, to get her out of his life. But the self-tortured Lee is not so easy to dispose of, now that she has had a taste of salvation. After she completes one final, excruciatingly difficult act of love (no spoilers here), Lee is reunited with Edward, who resigns himself to the truth and carries her off in his arms to -- to what? From all appearances, to a life of love everlasting.
It's seldom (read: NEVER) that we see a mainstream film deal with sadomasochism in such a gentle, nonjudgmental manner. The sadism here is not to be laughed at. We may not agree with it, we may shun it in our own lives. But here, there is no denying that it is a cloak for the redemptive, cleansing act of true love.
We are asked to consider the plight of Lee Holloway (Maggie Gyllenhaal), a young woman recently released from a mental institution, and her boss Edward Earle (James Spader), a martinet strung so tight he's a candidate for the rubber room himself.
She's the eponymous Secretary, he's the lawyer she works for. Edward is a stickler for perfection -- so much so, he keeps a supply of red sharpies in his desk drawer to circle typing errors in the letters his secretaries produce. One crucial day, he orders Lee into his office, closes the door, and presents her with a typo-ridden letter that came from her typewriter. That's right, this dinosaur is so antedeluvian that he refuses to allow computers in his office -- only typewriters.
Edward orders Lee to bend over his desk and look closely at the letter. When she does so, he gives her a sound spanking. She takes it, never budging to resist.
Probably most young women today would head straight for the nearest feminist lawyer's office and file a harrassment complaint. But not this young woman. Lee is a self-mutilant, and the spanking visited on her acts as a release of her masochistic needs. Maggie Gyllenhaal -- in a virtuoso performance -- makes us feel the secretary's relief. We can feel the cathartic effects of the spanking on her psyche.
But "Secretary" isn't about spankings, it's about redemption. Lee and Edward, now drawn together in a symbiotic relationship, realize that they are meant for each other.
Lee is first to realize the truth. Edward tries to deny his redemption, even going so far as to try to fire Lee, to get her out of his life. But the self-tortured Lee is not so easy to dispose of, now that she has had a taste of salvation. After she completes one final, excruciatingly difficult act of love (no spoilers here), Lee is reunited with Edward, who resigns himself to the truth and carries her off in his arms to -- to what? From all appearances, to a life of love everlasting.
It's seldom (read: NEVER) that we see a mainstream film deal with sadomasochism in such a gentle, nonjudgmental manner. The sadism here is not to be laughed at. We may not agree with it, we may shun it in our own lives. But here, there is no denying that it is a cloak for the redemptive, cleansing act of true love.
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