The publicity promised that this was the first X certificate picture to contain "real sex". It was still there in March But only my words, mind. And kept on coming. But the fact that you've probably never seen these actors before also allows the scene to function.
Indeed, a couple of years ago, Douche was reported to be living rough in Lille. Sex on the cinema screen, it seems, only mattered when it wasn't there. The heroine of the picture is disappearing under a pile of squashy heart-shaped cushions. The film director Pete Walker, the man behind forgotten British smut such as School for Sex and I Like Birds, remembers that Trevelyan's gravest injunction was against "indoor nudity" - which explains the huge and profitable boom in nudist camp pictures. It's not any more. Now the commercial power of the promise of real sex is so diminished, it would hardly have been worth their while. So when you see one man singing the national anthem into another's bottom - while another goes at him, equally tunefully, from the other end, it's done with such gusto that it's hard to escape the conclusion that this affirms the idea of America more persuasively than, say, Oliver Stone's World Trade Center. Shortbus is snortingly funny. Though, if next year I go to a cinema and see a wet and messy fellatio scene involving, say, Judi Dench and Jim Broadbent, then I might be persuaded to eat my words. Back in the days when Come Play With Me was visible on a thousand screens nationwide and luxuriating in its week consecutive run in the Classic Moulin, sex sold. When Jane Campion required a convincing sex scene for her serial killer film In the Cut, she chose to strap a phallic rubber prosthesis on to her leading man, Mark Ruffalo. Audiences barely saw it - the film was screened at London's Institute of Contemporary Arts, and hardly anywhere else. Instead of "10 girls being screwed by 10 guys", cinemagoers were treated to the sight of the veteran comedy actress Irene Handl swapping lame innuendoes with Alfie Bass, the gap-toothed menswear assistant from Are You Being Served? But how many films centring on a clique of Manhattan performance artists have ever made it there? Talk to producers and directors who worked in the s and 70s, and they'll tell you that making a film with a little bit of nudity was, financially speaking, a quite unlosable game - if you were willing to put in a bit of work with the censor, John Trevelyan. Even when more familiar actors have had sex on camera, there has been little outcry. As John Cameron Mitchell says: Shortbus In April , the longest-running and most profitable film in British cinema history opened at the Classic Moulin cinema in Soho. And I see no sign of that changing. Shortbus is the product of his desire to make a film that would "use the language of sex as a metaphor for the other aspects of the characters' lives". The writer-director, John Cameron Mitchell, is the freewheeling talent behind Hedwig and the Angry Inch, the rock melodrama about a botched gender-reassignment operation. Commercially speaking, this mildly smutty comedy starring that bloke out of Mind Your Language gave Travis Bickle a hearty kicking. Even that mayfly moment of manufactured scandal failed to translate into big business at the box office. The lines were all that was fluffed on the set of Come Play with Me. It's a soft-furnishings version of the image used to sell American Beauty. And it's that problem, I think, that will prevent unsimulated sex from making a true penetration into the mainstream - into films starring actors you've actually heard of. Share via Email Come on in
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