The 2002 film Secretary, yes, with James Spader and Maggie Gyllenhaal: it was fantastic. (My only criticism: it fumbles the tone slightly near the end of the film. But not by much, and it recovers soon.) I highly recommend. For starters, it's an excellent romantic comedy; and that's not a genre to which I am particularly drawn, as my idea of a romantic comedy generally has Katherine Hepburn and/or Cary Grant in it,* so when I find one I love, I'm really impressed. On top of that, it's a very intelligent film, in that it always treats its characters like real people and neither pieces in a plot nor symbols of a lifestyle, as I could very easily have seen happening with a poorer script. It's got terrific music. It's thought-provoking. It's romantic as well as erotic. And it is the only BDSM romantic comedy I have ever seen in my life. I should really get a copy one of these days.
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Also, that coiste bodhar terrified the living daylights out of me.
Likewise: I think I was actually more scared by the death-coach than by the banshee. But you get extra credit for being able to spell the thing. Did you know that Darby O'Gill is now out on DVD, by the way? I know what I'm doing with my poetry royalties . . .
*Splash is the other exception, although it wasn't until recent rewatching that I really thought about the film as a romantic comedy. When I saw it originally, it was the folkloric elements that impressed themselves on me: the shape-changing, the sea, and the choices between one world and another. (I've since read that it was originally conceived as a modern retelling of "The Little Mermaid," but it still strikes me as much more of a selkie story or, this time around, a Melusine variant.) Something about Eugene Levy's myth-obsessed scientist also touched resonances for me, but again I think I missed most of the humor in the character beyond the obvious physical comedy—and the fact that he's a near-total shmuck for most of the film. And I got that it was a love story, but not the bawdier aspects. I think John Candy's entire role went right over my head. Fortunately, this only made the whole film that much better this latest time around.
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Did that answer your question?
Also, that coiste bodhar terrified the living daylights out of me.
Likewise: I think I was actually more scared by the death-coach than by the banshee. But you get extra credit for being able to spell the thing. Did you know that Darby O'Gill is now out on DVD, by the way? I know what I'm doing with my poetry royalties . . .
*Splash is the other exception, although it wasn't until recent rewatching that I really thought about the film as a romantic comedy. When I saw it originally, it was the folkloric elements that impressed themselves on me: the shape-changing, the sea, and the choices between one world and another. (I've since read that it was originally conceived as a modern retelling of "The Little Mermaid," but it still strikes me as much more of a selkie story or, this time around, a Melusine variant.) Something about Eugene Levy's myth-obsessed scientist also touched resonances for me, but again I think I missed most of the humor in the character beyond the obvious physical comedy—and the fact that he's a near-total shmuck for most of the film. And I got that it was a love story, but not the bawdier aspects. I think John Candy's entire role went right over my head. Fortunately, this only made the whole film that much better this latest time around.