“Bound” (1996).
The Wachowskis First Film. Lovingly appreciated and spoiler free.
The Wachowskis First Film. Lovingly appreciated and spoiler free.
Ahead of the UK release of The Matrix Resurrections on 22nd December, here is my original review I posted to my film blog many moons ago. I will be doing likewise for the other magnificent films in their cinematic cannon (well, except for Speed Racer!) and each will be released separately here. I rather obsess over The Matrix films so I’m rather excited and hence, I thought I’d re-visit my blogs of their previous films.
I will also be releasing a special edition blog on all four Matrix films as soon as my eager eyes have seen their latest creation.
Anyway, spoiler free as with all my film blogs, on with the show:
Tagline: “I’m just here to get laid”
As the above quotation and tag line for the film suggests, this opening film written and directed by The Wachowski’s is high on sexual tension from the very beginning. As such, I’ve dissected the first 8 minutes of the film below and there follows a brief resume’ of the film’s three main characters:
The film opens with dark, imposing opening titles accompanied by a similarly dark musical score from Don Davis. The camera pans slowly around a strictly confined box (a definite metaphor for the film as a whole) against an opening narration of “choices” and of “being a part of me” which slowly fades to an image of a woman, tightly bound and gagged. The opening scene commences inside a tight, small elevator and introduces us to the three main characters of the film: “Corky” (Gina Gershon), “Violet” (Jennifer Tilly) and “Caesar” (Joe Pantoliano). The opening scene also introduces us to the sexual tension already apparent between Corky and Violet who both share admiring glances in silence whilst Caesar stands oblivious and stares straight ahead. With no words spoken, Violet and Caesar depart the elevator, however the camera pans in slow motion from Corky watching Violet walk along the corridor, her black stockings and high heels evident. Neighbours in a high rise apartment block, the ladies both share a brief glance as each enter their respective apartments.
With a zoom focus on the garish, dated wallpaper of her apartment, Corky has a brief smirk/smile as she hears the loud moans of sexual pleasure coming from the apartment next door and there follows another theme of the film as the Directors continually focus on inanimate objects, Tarantino style, such as keys or work tools, or the start of the following scene, two coffee cups. Violet, making an excuse to visit her neighbour offers Corky her coffee “straight black” and commences to slowly and not so subtly seduce her neighbour with little glances, touches and playful innuendo. Corky, admiring and playful remains impassive throughout.
The final brief scene of the opening 8 minutes is all within “The Watering Hole”, a pub she clearly used to frequent. Here purely to cruise for sex, the camera pans slowly through the regulars until settling on a black leather clad lady, sitting alone. Corky joins her and they share a brief smile before the lady’s Partner returns to the table, flashing her Police badge to warn off Corky. She departs with another admiring glance at the leather clad lady and a barbed “when you’re tired of Cagney and Lacey, come find me”.
“Corky” (Gina Gershon) Straight talking self confessed “dyke” making a living anyway she can in the avoidance of a real “J O B”. With her straight faced pout matching her style of talking, this is a no nonsense style brilliant performance from Gershon.
“Violet” (Jennifer Tilly) brings Violet to life brilliantly as the archetypal gangster’s moll and hinted at call girl. A Femme’ Fatale with a desperate need for escape, excess and a beautifully sexy husky voice!
“Caesar” (Joe Pantoliano) Quick talking Mafia Boss who’s slow degeneration is expertly played by one of my favourite character actor’s. His revenge on “Johnnie” (Christopher Meloni) is the film’s stand out scene and Pantoliano on real star form.
All three main characters share a desperation for escape from their lives and the boxes their lives reside in. A clear theme of the film, it has also been variously described as a noir thriller and whilst there are aspects to this, I don’t entirely agree. Well written by The Wachowski’s, the additional characters such as “Micky” (John P Ryan), “Johnnie” (Christopher Meloni) and “Gino” (Richard C Sarafian) add very little to the film and the film is twenty minutes too long, with the third Act elongated way beyond it’s ideal running time. The acting, dare I say it, passes but is no more than that, and I even include Joe Pantoliano there as well. Sixteen years since it’s initial release, the film has certainly aged but it retains some very good and very intriguing positives.
The cinematography from Bill Pope is superb throughout, as are the use of extreme close ups which heightens the sexual chemistry and tension. The sex itself is well depicted, choreographed and well shot and occasionally, though only occasionally, graphic. The real triumph here is that whilst the air of sexual tension is brilliantly portrayed it never becomes gratuitous. The bloody violence is fleeting but occasionally graphic, with again, an impending air of violence and malcontent. The editing from Zach Staenberg is brilliantly done, especially when encompassing the occasional flashback into the narrative but the real triumphs of this first film from the Wachowski’s are the quirky shots, the zooms and fades into apparent inanimate objects and the slow motion camera work evident throughout. The greatest example of which is the twisting, slow motion camera as it winds it’s way following a telephone line, a portent for their coming masterpiece, as is the use of a twisting, metallic sound effect, now so synonymous with that masterpiece, The Matrix.
Rather than a noir thriller, it has the feel of a stage play for me which is not a criticism and is in fact a compliment, as with a reduced running time and more focus on the three main characters, this could’ve been a fantastic film. Instead, it’s a good film yet a slight missed opportunity too.