9 12 Weeks Sex Scene Basic Instinct
Bild 4 von 9 1/2 Wochen. In "9 1/2 Wochen" entdeckt Kim Basinger mit Eiswürfeln, Erdbeeren und Schlagrahm ihre erotische Berufung. "9 1/2 Wochen" machte beide zu Sexsymbolen - und war vor allem für Basinger eine Qual. Von Simon Broll. , Uhr. anjapaerson.se - Kaufen Sie 9 1/2 Weeks by Kim Barsinger günstig ein. whips and belts, even the sex with ice cubes scene, and -- spoiler alert here -- the ending. kim basinger 9 1 2 weeks Kleidung, Kim Basinger, Selena, Hübsche erotic food as well as Kim Basinger and the steamy alley sex scene will get mentioned. 9 1/2 Weeks: An Erotic XXX Parody – Wikipedia.
The film has some good points. It looks good except for the sex scenes, which are too dark. The art direction is attractive, and the exteriors take place in Paris and the French countryside.
And that's about it for the plusses. On the negative side, it's a 90 minute movie with only minutes of plot. And talk about a lack of chemistry between leads!
The two of them never seemed to like each other, even when they were having sex. Poor ol' Mickey Rourke hasn't aged so well. He looked like a ventriloquist's dummy that recently had his hair re-fitted.
Despite his appearance, Rourke gave the role his best shot, and was fairly effective as a guy lost inside himself, rich in possessions but obsessed with regret about past mistakes and chances never taken.
Angie Everhart looked great, but she obviously went to the Royal Kathy Ireland School of Supermodel Acting, and just couldn't deliver a line naturally, so was not able to create a character you can relate to.
It is unfortunately for Angie, that film techgnology developed sound before color. If there had ever been silent color films, she could have been the Theda Bara of her time.
Her statuesque frame, her shocking mane of red hair, and the way she fills out a sweater all make her an imposing physical presence.
At least until she has to deliver a line, at which point she makes Pam Anderson seem to have the depth of Soren Kirkegaard.
She delivers every line with the chirpy intonations of a high school cheerleader. I t's supposed to be a bit of classy erotica.
The art direction is fairly classy, but the who project is about as erotic as pizza stains on your tie. The sex scenes are too dark, the leads don't seem to like each other, and Angie just doesn't have the acting skills to carry her part.
It isn't sexy enough to be a softcore, and it doesn't have enough content or good enough acting to be a real movie. End of story. Tuna's comments in yellow.
As the film opens, we see a straight razor playing with a nipple. A maid knocks to deliver breakfast, and we see Mickey Rourke toying with a blindfolded blonde.
Since the maid has broken the mood, the blindfolded woman asks that most romantic of questions, "Will this be cash or credit card?
Yes, the Mickster, after screwing up a promising relationship with Kim Basinger in the original film by pushing her too far past her comfort level in BDSM, is still madly in love with her.
In a case of art imitating life, he has now become an aging, pathetic, whining loser whose life is behind him. After a quick round of solitaire Russian Roulette, he heads off to Paris, where he buys a bunch of paintings were owned by the Kim Basinger character.
Then he meets Angie Everhart, who is wearing a scarf that Mick once gave to Kim. Small continuity problem here. The scarf was a major plot point in the first film, because it was his first gift to her, and it was a very loud and elaborate print.
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:.
The rape as much of her mind as it is her body. It is her discovery of what she learns of herself. When she finally leaves the relationship, he finds he can't live without her.
Who manipulated who? This movie, dated as it is, is still fresh because it is enough like life to be real. No, we may not be that rich or that attractive or that selfish or that spoiled.
But we also may wish at times that we were Looking for some great streaming picks? Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist.
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Crazy Credits. Alternate Versions. Rate This. A woman becomes involved with a man she barely knows. Complications develop during their sexual escapades.
Director: Adrian Lyne. Available on Amazon. Added to Watchlist. From metacritic. To Watch Movies. 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. 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.
Bemerkenswert, es ist die lustige Phrase
Ich bin endlich, ich tue Abbitte, aber es kommt mir ganz nicht heran. Kann, es gibt noch die Varianten?