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||IMDB Rating: 6.0/10 from 4,865 votes
||Release: 15 September 2005 (Netherlands) /
||Genre: Drama, Romance
||Director: Michelangelo Antonioni,
||Stars: Alan Arkin, Chen Chang, Cheng You Shin, Chi Keong Un, Feng Tien, Jianjun Zhou, Kar Fai Lee, Kim Tak Wong, Lai Fu Yim, Li Gong, Luk Auntie, Robert Downey Jr., Siu Man Ting, Wing Kong Siu, Wing Tong Sheung
||Synopsis: A three-part anthology film about love and sexuality: a menage-a-trois between a couple and a young woman on the coast of Tuscany; an advertising executive under enormous pressure at work, who, during visits to his psychiatrist, is pulled to delve into the possible reasons why his stress seems to manifest itself in a recurring erotic dream; and a story of unrequited love about a beautiful, 1960s high-end call girl in an impossible affair with her young tailor. Written by Sujit R. Varma
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What a treat! A film school in 104 minutes!
Forget what the detractors say about this. Most seem to think that none
of it is erotic enough and few "like" the Soderbergh and Antonioni
But you, dear viewer, you will know this as three explorations into how
the eye creates the seductive impulse. And we have three masters,
though I wish we also had Greenaway and Medem involved.
I assume that these three did not collaborate in any way. I also assume
that the sponsors did not specify that the projects be erotic, rather
that they explore what it means to be erotically engaged.
The first we see is by Kar-Wai Wong. His object of desire is Gong Li,
who at 40 is still beautiful. She plays a prostitute who conspires to
replace her old dressmaker with a young man. (The subtitles call him a
tailor, to emphasize the tale that he spins.)
She engages his desire-driven imagination, which binds him to her and
brings out his very best in terms of the dresses he creates. She weaves
him and through the clothes, he weaves her. Toward the end, the image
is polished with her ill and out of favor, and he still as obsessed and
caressing a dress he made, moving his entranced hand inside it. It is
his hand the title denotes.
At the very end, he tells a tale to his boss of his woman as back in
the money, now fully his creation.
The second entry is amazing. Soderbergh is often capable of creating
plots with circular reference. And since the very beginning, this
notion of one reality creating another has been at his center. But this
outdoes even "Full Frontal."
We have three dreams. One is the one we see first, a gauzy look through
windows at an amazingly engaging scene: a beautiful redhead bathing and
dressing. The dream starts as voyeurism through windows, but as is
described later, our voyeur enters the dream as a participant. In the
dream, he is on the bed dreaming.
Shift to a psychiatrist's office, where we meet the dreamer, played by
Downey, one of our few folded actors. He is a clock designer obsessed
with this dream. Over time, he is enticed to lay down and segue from
talking about the dream to actually enter the dream. During this time,
the psychiatrist begins his own voyeurism out the window.
Most reviewers saw this and thought the comic indifference was the
point. Oh my. Their license to view films should be revoked.
As Downey dreams, we enter the third world, the third dream. He pulls a
trigger suggested in the earlier segment and wakes into the dream where
he is now married to his desire, and he goes to clock-designer work
where his assistant is the same guy as the analyst, except he is the
one obviously insecure.
All three worlds are set in the 50s. Which is the dream? Which is the
source of pulling the desire into reality? Are dreams of desire
cinematic or the other way around? Which of the paper airplanes
The third project is widely dismissed as the obsessive sexual
impetulance of an old, fading man.
The scene here is simple. A husband and wife have a spat. She is
topless at first then puts on a transparent top as they go to a
restaurant. There they briefly encounter another inhabitant of the
beach resort where this is set. He visits this woman and they seduce
each other, apparently a single event.
Later, the husband and wife are reconciled. Both woman happen to be
nude on the beach, both seemingly in a sensual plateau. They encounter
each other; more precisely the wife encounters the other asleep, casts
a shadow on her while she stirs. They stare at each other silently.
Neither, incidentally, is particularly attractive.
When the man and his affair begin, he has entered the "other" tower on
the beach, after she wonders if he can stand her chaos, absolute chaos.
Viewers seem to equate this with his famed trilogy about love from the
sixties. Those were dumb films.
How could they forget "Blowup," an essay on how cinematic memory bends
or even defines reality. And how he stretched that into wonderful
folded space in "Beyond the Clouds."
You have to do some work here. You have to know that this is not about
sex, or the erotic figure. Nor even anything at all having to do with
examining a relationship. It is all about how perception defines the
situation, moved erotically.
Guess no one want to do the work. But if you are interested in film,
you'll want to view these three notions of where the eye of love sits.
With Wong, it is in the present, Soderbergh in the remembered and
Antonioni the expected.
I prefer Wong's world so far as experience. He even takes it as far as
not having a script, but making up the movie as he shoots. Love should
ideally be erotic, and the invention of that world should be one you
coweave with your partner, dressing each other into the miracle.
But these other fellows have hypnotic appeal as well.
Ted's Evaluation -- 2 of 3: Has some interesting elements.
Tags for Eros Full Movie
, Chen Chang
, Cheng You Shin
, Chi Keong Un
, Feng Tien
, Jianjun Zhou
, Kar Fai Lee
, Kim Tak Wong
, Lai Fu Yim
, Li Gong
, Luk Auntie
, Robert Downey Jr.
, Siu Man Ting
, Wing Kong Siu
, Wing Tong Sheung
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