Babygirl
Maybe if young actor Harrison Dickinson didn't play such a smug, arrogant creep, it would be easier to believe Nichole Kidman's character could instantly develop such a dangerous attraction to him in the new erotic thriller “Babygirl.”
And maybe if there weren't a real person named Luigi Mangione seducing millions of social media followers with a similar posture of sexy entitlement as he faces murder charges for a cold-blooded killing, it would be easier to dismiss this kinky drama written and directed by Halina Reijn as pure fantasy.
Either way, the movie is pretty much of a mess.
It's getting a bit of buzz at the moment for Kidman's recent Golden Globe nomination, and for the – gasp – lengths she went to to earn it.
In case you've missed the sizzling ad campaigns, “Babygirl” opens with an apparently nude Nicole testing the limits of R-ratings in the throes of passionate lovemaking with her husband (Antonio Banderas). As though that's not steamy enough, she finishes up with a kinky encore orgasm in front of her computer screen.
All this before the opening credits, and the scenes establishing her character Romy Mathis as the founder and CEO of a cutting-edge company that's streamlining Amazon-style commerce with robotics.
With her successful playwright husband, two beautiful teenage daughters, a corner office with floor-to-ceiling windows overlooking the Manhattan skyline, a penthouse and a mansion in the country, Romy's got it all. And she rules her domain with aloof, absolute control.
At least until the intern shows up.
His name is Samuel (Dickinson) and they meet by accident when he saves her from a savage German Shepherd attack on the sidewalk in front of her office. Later that morning she is formally introduced to the dog whisperer as a member of her company's incoming class of interns.
Samuel stands out of the crowd – at 6-foot-2 he towers over them, actually – but this doesn't explain why Romy can't keep her eyes off the condescending sneer usually on his face. He makes his disregard for her authority clear from the get-go, with the kind of attitude that would a guy fired, pronto, in any corporate setting in anyplace remotely resembling the real world.
Instead, Romy chooses to risk everything she has created and built in her corporate empire and perfect family to get him to practice some of that dog whispering on her.
What follows is lots, and lots, of seedy hotel rooms, office desk tops and even a rave, for her to keep discovering how low can she go. Turns out she was faking it in her perfect world. This young-enough-to-be-her-son lover is offering her a way out … she thinks, and she's willing to commit career suicide to prove it.
Last year Emma Stone won a Golden Globe and Oscar for her bold foray into sexuality in the brilliant “Poor Things.” She made sex mainstream for awards season.
Kidman gets points for guts for following Emma's lead, and for still having an if-you've-got-it-flaunt-it body in her late 50s. But she still comes in a distant second to Stone's groundbreaking performance, which sealed the deal with a healthy sense of humor on the whole subject of sex.
Besides the corporate backstabbing and snake pit treachery, there are themes of fragile family dynamics along with Romy's seriously twisted psyche in “Babygirl.” But that's not what the audience has come to see.
Unfortunately, for those of us who never got the concept of power as an aphrodisiac, or are color-blind when it comes to differentiating 50 shades of gray, Reijn's screenplay doesn't make much sense. The eroticism the publicists are banking on gets tedious in a hurry, and would be of even less interest if it weren't Nicole Kidman up there, baring it almost all.
She remains one of the most versatile actresses on screen today, but “Babygirl” is at best a sideways step rather than a thrilling advance in her brilliant career.
Comments
Post a Comment