Nine 1/2 Weeks (1986)

Regisseur:

Adrian Lyne

Drehbuchautoren:

Sarah Kernochan (writer)
Zalman King (writer)

Premierendatum:

21. Februar 1986 (USA)

Genre:

Drama | Romanze

Werbezeile:

They Broke Every Rule

Plot:

An erotic story about a woman, the assistant of an art gallery, who gets into an impersonal affaire with a man...

Plot Keywords:

Sexual Awakening | Nudity | Kinky | Rough Sex | Seduction

Filmpreise:

3 nominations

Nutzerkommentare:

An ignored and Marginalized Film

Besetzung

Mickey Rourke	...	John
Kim Basinger	...	Elizabeth
Margaret Whitton	...	Molly
David Margulies	...	Harvey
Christine Baranski	...	Thea
Karen Young	...	Sue
William De Acutis	...	Ted (as William DeAcutis)
Dwight Weist	...	Farnsworth
Roderick Cook	...	Sinclair - the Critic
Victor Truro	...	Gallery Client
Justine Johnston	...	Bedding Saleswoman
Cintia Cruz	...	Whore
Kim Chan	...	Chinatown Butcher
Lee Lai Sing	...	Angry Chinese Customer
Rudolph Willrich	...	Chinatown Shopper

Alternativ:

9 ½ Weeks (USA) (alternative spelling)
9 1/2 Weeks (USA) (alternative spelling)
9-1/2 Weeks (USA) (alternative spelling)
Nine ½ Weeks (USA) (alternative spelling)
9 1/2 Wochen (Bundesrepublik Deutschland) [de]
Neuneinhalb Wochen (Bundesrepublik Deutschland) [de]

Länge:

112 Min | Argentina:102 Min

Produktionsland:

USA

Sprache:

Englisch

Farbe:

Farbe (Technicolor)

Seitenverhältnis:

1.85 : 1

Tonverfahren:

Dolby

Altersfreigabe:

Italy:VM14 | West Germany:18 (original rating) | Germany:16 (re-rating) | Iceland:16 | Argentina:18 | Australia:R | Chile:18 | Finland:K-16 | France:-12 | Norway:15 | Norway:16 (1986) | Portugal:M/18 | Singapore:R21 | South Korea:18 | Sweden:15 | UK:18 | USA:R | Philippines:R-18

Drehorte:

Chelsea Hotel - 222 West 23rd Street, Chelsea, Manhattan, New York City, New York, USA

Firma:

Galactic Films

Dies und das:

In May of 1984, Oscar winning Production Designer and former studio head, Richard Sylbert was asked to come to New York for 6 weeks to oversee the production design, of this film.

Pannen:

Abfolgefehler: Before the waterfront scene Elizabeth does some shopping and has a shopping bag. But when they reach the waterfront the bag and her items are gone.

Dialogzitate:

Elizabeth: How did you know? How did you know I'd respond to you the way I have?
John: I saw myself in you.

Bezüge zu anderen Titeln:

Verweis/Anspielung/Erwähnung in "A Girl's Guide to 21st Century Sex: (#1.7)" (2006)

Soundtrack:

Voices

An ignored and Marginalized Film

Except perhaps in Paris where, until recently, it played in a cinema just off the Champs Elysee. This film has been condemned from just about every possible, so I will not try and defend it blow by blow. There is much to appreciate here, particularly when the film is looked at in the context of it being the '80's "Last Tango In Paris" - perhaps even self consciously so. The opening shot of "Nine 1/2 Weeks" echoes the famous opening of "Last Tango In Paris" and there are many parallels, but never to the point of it becoming overt.

If one accepts that form is to mirror content and apply that here it becomes clear that efforts were made to do so. The visual 'look' of both films not only mirror their content (for 'Tango': a muted color pallette, yet somehow lush, there is a layer over everything) but also their era. Both films deal with similar subject matter, in the context of the time in which they were made.

"Nine 1/2 Weeks" IS the '80's in much the way that "Last Tango..." is the '70's - the obsessions of an era are embodied in the struggle of two human bodies. Motions, touches are imbued with something beyond what is happening in the here and now. Very much in question here is the internal landscape of the characters involved - something one, as a filmmaker, would rather expose in a visual way as opposed to having characters pontificate about it (though Brando TALKS in "Last Tango..." it is very often what he doesn't say, the silence between two lines of dialogue, that SAY more) - in "Nine 1/2 Weeks" there are many visual cues/pointers as to the characters' states of mind, i.e. their apartments, the manner in which they are decorated stark, all straight lines (John) vs. cluttered and dusty (Liz). Elements like that make a film work.

The only moments of relief that Liz experiences in the film are when she is away from the city, away from John, amidst nature with the painter - in fact, one almost never sees John outside, just like Paul in "Last Tango..." - all these little cues about character should raise the questions in the viewer's mind - what sort of person would?...