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Misérable Politics: Why Anne Hathaway Should Go-Away

Image from LesMeanGirls
Image from LesMeanGirls

In last year’s Les Miserables, a movie with a lot of famous people in it that will probably win some Oscars, Anne Hathaway plays Fantine, a single mother struggling to provide for her child. Fantine turns to prostitution in a moment of ultimate desperation, having already sold her hair and teeth—I know I’m not the only hooker whose first response to that was “Wrong order, girl”, but whatever—and she and the audience feel very sad. Then she’s saved, and we feel happy, but then she dies of tuberculosis, and we are sad again. At least she’s not a hooker now though. Phew!

No one is more concerned about Hathaway’s Fantine, however, than Hathaway herself, as evidenced by her various comments during the lead-up to the film’s release. One of the most circulated quotes has Hathaway outlining her research “into the lives of sex slaves, which are just unspeakably harrowing,” and her attempts to “honor” the experiences of women who are “forced to sell sex”:

 I came to the realization that I had been thinking about Fantine as someone who lived in the past, but she doesn’t. She’s living in New York City right now, probably less than a block away.  This injustice exists in our world.  So every day that I was her, I just thought ‘This isn’t an invention. This isn’t me acting. This is me honoring that this pain lives in this world.’ I hope that in all our lifetimes, we see it end.”

Meet The Fokkens (2011)

(Screenshot from "Meet the Fokkens")
(Screenshot from Meet the Fokkens)

Meet the Fokkens, a 2011 documentary directed by Gabriëlle Provaas and Rob Schröde, follows the lives of Martine and Louise Fokkens, 69-year-old twins who have spent many years as full service sex workers in Amsterdam’s red light district. At the time of filming, Martine was still working, albeit reluctantly, while Louise had been retired for two years because of her arthritis. Though the documentary’s main focus is the sisters’ careers as prostitutes, we also see their homes, meet their friends, and hear pieces of their personal histories.

In addition to its focus on a fascinating topic, Meet the Fokkens also presents a charming aesthetic experience. The movie involves many scenes of the Fokkens sisters in matching outfits, and at least one of those outfits is primarily pink! Louise brings her Chihuahua with her everywhere she goes. Even if nothing else in this movie caught my attention—which is not the case—the matching outfits and Chihuahua would have been enough to enchant me. But, happily, Meet the Fokkens is as intellectually engaging as it is, well, precious. The film does more than skim the surface—it delves into sexuality and labor through the exploration of the lives of these two women.

Let’s Talk About Pretty Woman (1990)

Editors Note:
There’s no sex work film as iconic as Pretty Woman, which is why we needed a total of three Tits and Sass-ers to tackle it. We figured we might as well start today, on Richard Gere’s birthday, with Bettie’s thoughts on the highest profile hooker with a heart of gold, followed by Charlotte’s take on Gere’s turn as provider instead of client in American Gigolo, and ending with an anonymous escort’s rebuke to the world Pretty Woman presents. Is there something about Vivian and Edward that still needs to be said after all that? Feel free to leave your own PW thoughts in the comments.

I have to admit, I’m not really a fan of Pretty Woman anymore. I used to be, before I started working. Now, though…

But it’s not because it’s an awful film. Indeed, it’s probably because it’s so good that I find it abhorrent. Even writing this review about it is getting on my nerves. That’s how far I’d like to stay from it at this point.

So, the story (as you all know) goes like this: Woman is a prostitute. Woman gives guy directions and ends up in his hotel room doing what prostitutes do when they are working. Guy’s kind of a dick…or socially awkward, whichever works for you, so he decides that instead of spending the week alone and perhaps trying to get another woman to spend time with him, he’ll just have Woman stay, for $3,000 and use of his credit cards. Woman thinks that’s swell. They spend time together (after she goes through a transformation the likes of Audrey Hepburn in My Fair Lady…or Sabrina, without the trip to Paris) They fall in love.

The last scene where he’s on the white limo with the rose in his mouth is just, ugh. My nerves are bad. Why didn’t he use the Esprit SE? I would totally fall for a dude in one of those.

Sin City (2005) and Sin City: A Dame To Kill For (2014)

Sin City 1, via fanpop via huffington post Imagine a city so bleak, so hopeless, so full of darkness, that only criminals and social rejects have a fighting chance to survive living there. Imagine villains so desperate, so foul, so vile, that the ugliest death for them still wouldn’t feel like justice. Now imagine heros who are so full of vice, rage, and demons that they are not much better than our villains. Picture a city that doesn’t have a violent underbelly, because its entirety is a violent underbelly. This is the setting Robert Rodriguez and Frank Miller have built for us with Sin City and its sequel, Sin City: A Dame To Kill For. Based on Miller’s comic book series of the same name, the two have constructed a nightmare town that is terrifically gory and hellbent on destroying every person who enters it.

The characters that seem most equipped to survive Sin City are its sex workers. (Spoilers ahead.) 

La Bare (2014)

image via La Bare
image via La Bare

The news that Joe Manganiello was making a documentary about the Dallas male strip club La Bare thrilled me, because I loved Magic Mike and his performance in it. When it finally came to Netflix, I roped Matthew Lawrence into watching and chatting with me. It was no Magic Mike, but the real-life Magic Mike, Randy “Master Blaster” Ricks, didn’t disappoint. Below is an edited version of our real-time viewing experience. There’s probably spoilers.

Matthew: How many stars does Netflix THINK you will give this movie? For me it’s only one and a half!

Bubbles: Two for me! Seems like you don’t know me at all, Netflix.

Matthew: My Netflix is hampered by my boyfriend’s mysterious love of The Vampire Diaries, so maybe it assumes I will hate any documentary narrated by a True Blood cast member?

Bubbles: I’m so happy. I loved Magic Mike so much.

The film opens on two male strippers in cowboy hats and sleeveless shirts, about to perform for a bachelorette party.

Bubbles: Haha, it’s ok to take her number if she isn’t engaged. These outfits are fantastic.

Matthew: Those hats! I am in New England, I don’t see hats like that ever.

Bubbles: OK, so, it kicks off with the Flaming Lips “Free Radicals,” one of what I assume are many interesting musical choices. Is there a “businessman” male stripper? I guess that would be “Richard Gere Armani Suit” male stripper

Scene changes to the office of La Bare, where the manager talks about the club’s early days, when it switched from a topless club with female dancers to a male strip club named “La Bare.”

Matthew: Hahaha, nude in French or whatever.

Bubbles: “Which means nude in French or whatever.” Jinx! 9/11 killed the male stripping business? Had you heard anything about this?