Word: libido
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...film's steamy sex scenes-especially the first, which takes place in the kitchen among foods and utensils as elemental as love and death-will raise eyebrows and temperatures. In part this is because The Postman appears at a time when moviemakers seem to have forgotten that the libido exists, in part because these scenes are the film's only submissions to spontaneity. This Postman is a true period piece-not 1934, but the early '70s, when American and European directors were investigating functions of the apocalyptic orgasm from behind a modernist screen. Like Last Tango...
...piece like Habitat Group for a Shooting Gallery, 1943-it suggested the rupture of a sanctuary, an attack upon Eden. The glass pane of Cornell's boxes, the "fourth wall" of his miniature theater, is also the diaphragm between two absolutely opposite worlds. Outside, chaos, accident and libido; inside, order, sublimation, memory and peace...
...seductive as only a pubescent art-groupie in the Village can be that enrapturing combination of loose-knit young limbs and eyes that reach down into your darkest urges. With a look and a walk she evokes the thematic center of Wedekind's play: the awesome power of dawning libido. And Courtney Vance is universally excellent in all four of his roles, but particularly in the end, as the Man in a Mask, the Great Father who has come to save Melchior and his dismal world...
Enter her new lawn-distance neighbor. Hannah Mae Bindler (Eileen Brennan), a Lone-Star State emigree, is wearing a garish outfit, and her accessories are an unstoppered tongue and the musk of a rampant libido. Culture clash soon gives way to kaffeeklatsch. Maude reveals that her husband is off on one of his adulterous secretarial safaris. Despite having suffered the occasional infidelity, Hannah Mae claims that her husband Carl Joe "don't take a breath unless I say, 'Carl Joe, breathe...
...protagonist, Joe Gideon (Roy Scheider) is Bob Fosse--no point in rehashing the one-to-one correspondences. He is a talented director/choreographer staging a Broadway musical starring his former wife, editing a movie about a stand-up comic, and indulging his active libido in assorted hopeful chorines. He drives everyone hard, but himself the hardest ("To be on the wire is life; the rest is nothing"), waking up with Dexedrine and cigarettes--a tortured, uncompromising bastard. He is also a song-and-dance man, who doesn't know "where the bullshit ends and the truth begins." "I got insight into...