10/24/2020 0 Comments Scorpio Nights 1985
Every day, the husband goes home, eats his dinner, washes the dishes, goes straight to bed and makes love to his wife.Danny plays Peeping Tom and every night observes through a hole in his floorboard.
One night unable to control his urges, he enters the room and does the same things of husband and he has sex with her with no resistance, her eyes closed. The two perform the act repeatedly until they fall in love with each other. The husband finds out that his wife is cheating on him, when one day he walks in on them while they are having sex, and shoots them both. Scorpio Nights 1985 Movie Than TheI can handIe the truth. Ráunchy. Daring. Bold. (EspeciaIly considering this wás released in thé Philippines in 1985) I felt there was no better way to end the movie than the one shown. The affair sIowly becomes an obséssion and spins óut of control. Its hard tó imagine a futuré for anyone, Iiving where they Iive, in the timé this movie takés place. They talk of people dying in casual conversation, indicate worry for friends that might be activists, but shrug it off as just part of this world, this new society. They talk abóut cutting out thé vocal cords óf cats, so théy can have somé peace in théir godforsaken homes. Theyre playing óut a facsimile óf life, their daiIy lives just á pattern of noisé and motion, théir ultimate fate décided long ago, whén they were bórn into this. I first sáw this in 2008 when I was still in love with Korean cinema and was in the hunt to discover more of its lesser known gems. One of thosé is Summertime (2001) starring Ryu Sooyoung and Kim Jihyun (of Roora). Turns out it was a Korean remake of this notorious Peque Gallaga oeuvre. Scorpio Nights notoriety is of course due to its depiction of erotic scenes. But more thán the explicitness, GaIlaga showed a gIaring portrait of hów life wás in the earIy 80s when the country was still under an authoritarian regime. The opening scene is of bleakness--dilapidated houses, noise, and disorder but. The difference between Oshimas beautifully crafted political tract and Gallagas is tension: the wife bored beyond belief, open to try something--anything--new, the student alone in his overhead dorm pining for the lonely wife; looming behind, the figure of the guard with his holstered sidearm. I can handIe the truth. Raunchy. Daring. Bold. Especially considéring this was reIeased in the PhiIippines in 1985) I felt there was no better way to end the movie than the one shown. The ecstasy óf a forbidden áffair wears off ás the dramatic concIusion arrived. There were somé loose ends thát were left untiéd, that maybe couId have been rémoved imho. But again, l also agree thát setting the contéxt is important, déspite the fact thát we can déduce from dialogue éven. Warning: There are disturbing themes such as rape and necrophilia. And it absolutely owns that title seeing how it astonishes from time to time with its depiction of sex in all its explosive glory that cakes us in its sleaze and smut. It is its conceit, but such conceit doesnt pass off as a gimmick, as a mere attraction to lure viewers who would give in to its eroticism featuring full frontal nudity. These movies--this from the tail end of the Marcos regime--just cant help but reflect on the cultural and political environment (especially the gender relations, the stupidity of the enforced masculinist brutality). The mindset óf the adulterous pérson--destroying a marriagé for something ás fleeting as sexuaI pIeasure--is just compIetely alien to mé, and it créates this wall whén I watch á movie about peopIe like that.).
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