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Michael Fassbender’s casual full frontal in “Shame” seemed calculated to titillate, but it said little about his sex-addicted character.
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Harvey Keitel was alternately sinister in “Bad Lieutenant” or seductive in “The Piano” when he exposed himself on screen. When Richard Gere bared it all in “American Gigolo” or “Breathless,” it sent tongue wagging. Explicit and extensive nudity allows characters to express their true identities through physical and emotional nakedness.īut too often, full-frontal male nudity is used as a did-you-see-that? discussion point. Many actors only want to appear naked on screen if the exposure serves the story or character without being exploitive. It reveals, exposes, and expresses the truth of who Harry is, what he is saying and why he is naked while saying it: he simply ha. The male nudity here is not erotic, but something more essential. Most notably, however, when an argument develops between Harry and Paul, the scene showcases a full-frontal Fiennes who spends the whole sequence completely naked. The boisterous Harry skinny-dips to cool off or show off-probably both-and Penelope uses her nudity to coax a potential suitor in one key scene. That doesn’t stop their guests from disrobing. But then Harry Hawkes (Ralph Fiennes), Marianne’s former lover, arrives with his daughter, Penelope (Dakota Johnson) and the couple confides to one another that they can’t be naked anymore.
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Watching them, you just want to strip off your clothes and dive through the screen to join them. Call Me By Your Name is out now on Blu-ray, DVD and digital download.In the opening moments of the new film, “A Bigger Splash” Marianne Lane (Tilda Swinton) and her lover, Paul De Smedt (Matthias Schoenaerts), are lounging naked by the pool at their Italian villa.So if you had two of them, you could do a pretty good work-out.” So he’ll just have to hurry up and win another. Do you know the funny thing about an Oscar? It’s exactly the right weight for a dumbbell. “It’s sitting at a window where all kinds of people could see it if they bothered to look across. “He’s a good, sane director,” he says, “with a special way of looking at things.”Īs for the Oscar, that’s currently in Ivory’s New York apartment. “He retired once before to become a shoemaker in Italy and luckily he didn’t persist at that, so hopefully this is short-term, too.” What’s certain is that Ivory is adapting Prawer Jhabvala’s short story The Judge’s Will for Alexander Payne, who made Sideways and the recent Downsizing. He also has a nice little part in mind, in another project, for his old mucker Daniel Day-Lewis: “He’d be playing a detective, which I don’t think he’s done.” Ivory seems unperturbed when I mention that the actor retired recently. A film of Richard II, which he has hoped to make since the early 90s, may now reach the screen: “People are reading the script with, let’s say, renewed interest.” The Merchant/Ivory brand fell from commercial and critical favour about 10 years before Merchant’s death, and Ivory has struggled to get new projects under way. Though the pair had been making films for more than four decades – often with their friend and favourite screenwriter, Ruth Prawer Jhabvala, who died in 2013 – any references to their personal life together were only ever made discreetly and euphemistically by the press, if at all.ĭream team … Merchant, Ivory and their Oscar-winning screenwriter Ruth Prawer Jhabvala in 1984. His relationship with his producing partner Ismail Merchant, which began when they met in the early 60s, lasted until Merchant died during surgery in 2005 at the age of 68. To me, that’s a more natural way of doing things than to hide them, or to do what Luca did, which is to pan the camera out of the window toward some trees. And I don’t do it, as you know.” In Maurice, his 1987 film of EM Forster’s posthumously published gay love story, “the two guys have had sex and they get up and you certainly see everything there is to be seen. “When people are wandering around before or after making love, and they’re decorously covered with sheets, it’s always seemed phoney to me.