Prostitution

The World of Suzie Wong

A prim young Chinese woman on the Kowloon ferry accuses a middle-aged American of stealing her purse--thus begins a culture-clash romance. Seeking to escape his stifled life, Robert (William Holden, Stalag 17, Sunset Boulevard) has come to Hong Kong to become an artist. He rediscovers the girl from the ferry and learns she is not what she seemed; she's a prostitute named Suzie Wong (Nancy Kwan, Flower Drum Song). Though Robert resists her charms, she becomes his model, and their relationship grows surprisingly complex. While The World of Suzie Wong can be patronizing and has some dubious interpretations of Chinese manners and mores, it's also sophisticated (in a censored sort of way) about love, sex, and social pressure. A viewer may scoff at the child-like hookers, yet find the movie accumulates an unexpected emotional force, particularly through its exploration of how the characters maintain their illusions. --Bret Fetzer

Dangerous Beauty

Although it was unfortunately ignored during its brief theatrical release, this sumptuously seductive production is that rarest of cinematic breeds, the (barely) respectable guilty pleasure. Combining historical fact with hysterical anachronisms of language and mannerism, it's been tailored for maximum contemporary appeal but maintains a lush, romantic feel for its factual 16th-century tale of Venetian love, lust, and political repression. Catherine McCormack (Mel Gibson's ill-fated bride in Braveheart) delivers a star-making performance as the "dangerous beauty" who becomes a skillful courtesan to pursue her forbidden love for a dashing Venetian senator (Rufus Sewell). It's all rather silly in a high-toned fashion, and the film turns dour when the church intervenes with a Scarlet Letter-like papal inquest. But the movie's joyously ribald vitality is utterly irresistible, and the casting of McCormack with Jaqueline Bisset (as her mother and courtesan mentor) is a stroke of pure genius. Merchant-Ivory would've made a smarter film from this material, but it probably wouldn't be nearly as entertaining. --Jeff Shannon

Midnight Cowboy

The first, and only, X-rated film to win a best picture Academy Award, John Schlesinger's Midnight Cowboy seems a lot less daring today (and has been reclassified as an R), but remains a fascinating time capsule of late-1960s sexual decadence in mainstream American cinema. In a career-making performance, Jon Voight plays Joe Buck, a naive Texas dishwasher who goes to the big city (New York) to make his fortune as a sexual hustler. Although enthusiastic about selling himself to rich ladies for stud services, he quickly finds it hard to make a living and eventually crashes in a seedy dump with a crippled petty thief named Ratzo Rizzo (Dustin Hoffman, doing one of his more effective "stupid acting tricks," with a limp and a high-pitch rasp of a voice). Schlesinger's quick-cut, semi-psychedelic style has dated severely, as has his ruthlessly cynical approach to almost everybody but the lead characters. But at its heart the movie is a sad tale of friendship between a couple of losers lost in the big city, and with an ending no studio would approve today. It's a bit like an urban Of Mice and Men, but where both guys are Lenny. --Jim Emerson

Daring. Provocative. Shocking. Compelling. Nearly thirty years after its original release, "Midnight Cowboy is still heartbreakingand timeless" (The New York Observer). This Academy AwardÂ(r) winner* for Best Picture, Director and Screenplay also boasts OscarÂ(r)-nominated** performances by Dustin Hoffman and Jon Voight, neither of whom have "ever been better on screen than they are here" (Chicago Tribune)! When Joe Buck (Voight), a good-looking,naively charming Texas "cowboy" makes his way to the Big Apple to seek his fortune, the only wealthhe finds is in the friendship of Ratso Rizzo (Hoffman), a scrounging, sleazy, small-time con man with big dreams. Living on the tattered fringe of society, these two outcasts develop an unlikely bond one that transcends their broken dreams and get-rich-quick schemes and makes Midnight Cowboy "that rarest of things: [a film] every bit as moving now as it was when it was [first] released" (Premiere). *1969 **1969: Actor

Pretty Baby

A semi-scandal upon its release in 1978, this Louis Malle film is set in a turn-of-the-century, New Orleans bordello and focuses on a girl named Violet (then-child actress Brooke Shields) whose imminent twelfth birthday signals her "readiness" to become a career prostitute. Typical of Malle, the outwardly forbidden nature of the story and relationships within are morally obscured by the immediate experiences and unqualified urges of the characters. The little heroine brings a distinctly youthful and innocent view to the milieu, and the introduction of a photographer (Keith Carradine)--who eventually marries Violet--in the brothel carries the suggestion that there is art and beauty to be explored there. Susan Sarandon is beguiling as Violet's mother, who seems to unfold in the cameraman's presence. The film moves a little stiffly, a little slowly, possibly from a heavy emphasis on period art direction and Sven Nykvist's moody if gorgeous photography. --Tom Keogh

The Basketball Diaries

Film adaptation of street tough Jim Carroll's epistle about his kaleidoscopic free fall into the harrowing world of drug addiction. As a member of a seemingly unbeatable high school basketball squad, Jim's life centers around the basketball court and the court becomes a metaphor for the world in his mind. A best friend who is dying of leukemia, a coach ("Swifty") who takes unacceptable liberties with the boys on his team, teenage sexual angst, and an unhealthy appetite for heroin -- all of these begin to encroach on young Jim's dream of becoming a basketball star. Soon, the dark streets of New York become a refuge from his mother's mounting concern for her son. He can't go home and his only escape from the reality of the streets is heroin for which he steals, robs and prostitutes himself. Only with the help of Reggie, an older neighborhood friend with whom Jim "picked up a game" now and then, is he able to begin the long journey back to sanity.

The pre-Titanic Leonardo DiCaprio stars as Jim Carroll, the poet and musician who spent much of his adolescence addicted to heroin and shooting hoops with fellow Catholic high school kids. As a biography, the film doesn't amount to more than the sum of its gritty scenes of smack use, violence, perversions (poor Bruno Kirby plays a lecherous coach who comes on to young Jim), and the usual scream-and-puke dramas that go along with a cold-turkey session. Director Scott Kalvert doesn't seem to realize that most people don't know who Carroll is and therefore can't possibly understand why they should care about his gutterball youth. DiCaprio, having nowhere to go with his performance but maintain Carroll's tailspin, is boring and redundant. Some kind of allusion to the literary and rock & roll life that follows the mess we're watching might have been helpful. --Tom Keogh

Hustle & Flow (Widescreen Edition)

The idea of a soulful pimp as the hero of a movie will strike some viewers as objectionable and perhaps even repellent, but Terrence Dashon Howard's complex and fierce performance will challenge such easy moral decisions. DJay (Howard, Crash, The Best Man) hustles a small stable of whores, including corn-rowed Nola (Taryn Manning, A Lot Like Love). When he learns that former local rapper turned superstar named Skinny Black (real life rapper Ludacris) is coming back to town for the 4th of July, DJay teams up with a frustrated sound engineer (Anthony Anderson, Kangaroo Jack) and a geeky musician (DJ Qualls, Road Trip) to put together a demo tape that he hopes will be his ticket to fame and fortune. What's most impressive about Hustle & Flow is that it doesn't oversell its hero. DJay's aspirations are more economic than poetic--he's not out to create art, he just wants a better life. This lack of pretension allows the movie to capture a genuine sense of how creativity can improve people's lives, which surprises DJay as much as anyone. The movie's other strength is a keen eye for social behavior, in particular the ways in which DJay manipulates everyone around him. Howard, who's almost always stood out in every movie he's made, plays these scenes with what can only be called smooth desperation. The entire cast gives substantial performances, but it's Howard who drives the movie irresistibly forward. --Bret Fetzer

DJay is a Memphis hustler who spends most days in a parked Chevy philosophizing about life while Nola (Taryn Manning), turn tricks in the backseat. He's not very good at pimping, but he can hustle almost anything or anyone and makes enough to keep himself and three girls satisfied and housed in his shotgun home. DJay however is in the midst of a midlife crisis; he quietly harbors dreams of becoming a respected rapper. When he learns from a local club owner, Arnel (Isaac Hayes), that rap mogul Skinny Black (Ludacris), is rolling through town, DJay decides to record his flow with the hopes of slipping his demo to Skinny. With little help from his friends and "family" DJay sets in motion the hustle of his life, and galvanizes the lives of those around him as they learn that "Everybody's gotta have a dream."

Leaving Las Vegas

One of the most critically acclaimed films of 1995, this wrenchingly sad but extraordinarily moving drama provides an authentic, superbly acted portrait of two people whose lives intersect just as they've reached their lowest depths of despair. Ben (Nicolas Cage, in an Oscar-winning performance) is a former movie executive who's lost his wife and family in a sea of alcoholic self-destruction. He's come to Las Vegas literally to drink himself to death, and that's when he meets Sera (Elisabeth Shue), a prostitute who falls in love with him--and he with her--despite their mutual dead-end existence. They accept each other as they are, with no attempts by one to change the other, and this unconditional love turns Leaving Las Vegas into a somber yet quietly beautiful love story. Earning Oscar nominations for Best Director (Mike Figgis), Best Adapted Screenplay (Figgis, from John O'Brien's novel) and Best Actress (Shue), the film may strike some as relentlessly bleak and glacially paced, but attentive viewers will readily discover the richness of these tragic characters and the exceptional performances that bring them to life. (In a sad echo of his own fiction, novelist John O'Brien committed suicide while this film was in production.) The DVD features uncut, unrated footage that was not included in the film's theatrical release. --Jeff Shannon

Best Actor OscarÂ(r) winner* Nicolas Cage and Best Actress nominee* Elisabeth Shue set the screen ablaze in this profoundly moving love story. Nominated* for two additional Academy AwardsÂ(r)Director and Adapted Screenplaythis emotionally charged powerhouse of a film graced over 100 10 Best Lists including Roger Ebert's #1 Movie of the Year. Ben Sanderson (Cage) is a career alcoholic who has hit rock bottom. Trashing all personal and professional ties to his L.A. existence, he sets off for the lights of Vegas on a mission: to drink himself to death. There he meets Sera (Shue), a beautiful, seen-it-all hooker. From the moment Ben and Sera connect, they form a unique bond based upon unconditional acceptance and mutual respect that will change each of themforever. In the words of David Thompson of Los Angeles Magazine, Leaving Las Vegas is a masterpiece. *1995

Malena

When 12-year-old Renato, riding through his small Italian town on his new bicycle, sees the voluptuous Malèna, little does he know he's launching on an infatuation that will carry him through the tumultuous days of World War II. Malèna begins as an enraptured depiction of Renato's adolescent mind--the way he stares, hypnotized, at Malèna's garters pressing through the material of her tight skirt, or his frustrated rebellion against the indignity of wearing short pants--but soon transforms into a portrait of small-town prejudice. Malèna's looks spark lust and envy in the townspeople; when her husband dies in combat, the gossip only intensifies, to the point that Malèna is dragged into court to defend herself against accusations of adultery. When the women of the town refuse to sell her edible food at the market, Malèna has little choice but to become what she's been unjustly accused of being. At the end, a twist of fate turns this tale of longing and jealousy into a heartbreaking love story. Monica Bellucci exudes the can't-help-it eroticism that makes Malèna such a lightning rod for everyone's desires; she's like a more zaftig Isabelle Adjani. The movie seems to wander at times, but the ending has a powerful emotional impact. From the director of Cinema Paradiso. --Bret Fetzer

The latest triumph from Giuseppe Tornatore, the writer and director of the Academy Award(R)-winning CINEMA PARADISO, MALENA is an utterly unforgettable story of a boy's journey into manhood amid the chaos and intolerance of World War II. In a sleepy Italian village, the most beautiful woman in town, Malena (Monica Bellucci), becomes the subject of increasingly malicious gossip among the lustful townsmen and their jealous wives. But only her most ardent admirer, young Renato Amoroso (Giuseppe Sulfaro), will learn the untold true story of the mysterious and elusive Malena! In a captivating motion picture nominated for two Academy Awards, the eventual struggles and hardships that Malena must bravely endure serve to inspire Renato to new heights of compassion, courage, and independence!

Belle de Jour

A young Paris housewife, Séverine, grows bored with her stable husband. When she learns of the presence of a high-class brothel in her neighborhood, she quietly goes to work there--but only during the day, until five o'clock in the afternoon. This sublime 1967 film is one of the latter-day masterpieces of the Spanish-born director Luis Buñuel, whose career forms one of the greatest and boldest arcs in cinema. By the time of Belle de jour, Buñuel had become almost completely deadpan in his style, which not only leaves the motivation of Séverine a mystery (despite a few flashbacks to degradations of her youth), but also casts the entire plot in doubt. An old surrealist from the 1920s (when his first classic, Un chien andalou, was made in collaboration with Salvador Dali), Buñuel suggests that what we see may be real, or simply Séverine's imagination. Because he was the least pretentious of directors, Buñuel keeps his material playful, wicked, yet cutting. As Séverine, the impossibly lovely Catherine Deneuve uses her cool demeanor to great effect--she never breaks her deadpan, either. In 1995, after having been out of official circulation for years, Belle de Jour was re-released in America and became an unexpected art-house hit. --Robert Horton

Widely acclaimed as a motion picture masterpiece, BELLE DE JOUR is an erotically charged tale of deceit and desire! Beautiful Catherine Deneuve (INDOCHINE) stars as Severine, a perfect young housewife ... who leads a shocking double life. What her loving husband Pierre doesn't know is that by day she's a high-priced prostitute! But when the dangerous obsession of a customer forces her terrible secrets out into the open, Pierre must decide whether to reject her for what she has done ... or accept her for who she is! Now available on video for the first time, the stunning erotic intrigue of BELLE DE JOUR will both captivate and entertain!

Monster

Charlize Theron (The Italian Job Trapped) explodes in a magnetic Oscar®-winning (Best Actress 2003) performance as convicted killer Aileen Wuornos.Severely abused and unloved Aileen immersed herself in the dangerous world of highway prostitution...until she met Selby Wall (Christina Ricci Sleepy Hollow) a naive girl who was Aileen s last chance at a normal life. But ultimately all Aileen understood was violence and nobody imagined the nightmare that awaited the seven men standing in the way of her happiness. A critically-acclaimed film from writer/director Patty Jenkins. "Academy Award ®" and "Oscar ®" are the registered trademarks and service marks of the Academy of Motion Picture Arts and Sciences.System Requirements:Running Time: 118 Min.Format: DVD MOVIE Genre: DRAMA Rating: R UPC: 043396055520 Manufacturer No: 05552

Critics have universally praised Charlize Theron's performance in Monster, and the praise, for once, is astonishingly deserved. The gorgeous star of The Italian Job and The Cider House Rules vanishes into the character of Aileen Wuornos, a real-life serial killer and prostitute who murdered at least seven men in Florida. Monster traces her relationship with a young woman named Selby (Christina Ricci, The Ice Storm, Buffalo 66), which intertwines with Wuornos's murder spree. This remarkable movie finds compassion for Wuornos but unflinchingly faces her brutal crimes; Theron expresses this woman's horrific life history without softening her terrifying, dead-eyed stare. This is a gripping, devastating performance, a physical and psychological transformation comparable to Robert DeNiro's in Raging Bull. The movie's moral and emotional complexity wouldn't succeed without this searing performance--but succeed it does, and it will stick with you for some time afterward. --Bret Fetzer