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_INSTANT

Two Explicit Films
Are Uncompromising

In what appears to be a book-
ing coincidence, the Maple
Theatres presented two honest,
uncompromising films with
highly-charged sexual content
at the same time.
Working Girls (unrated) is an
unvarnished picture of high-
priced call girls in action. Prick
Up Your Ears (rated R) is the
biography of English
playwright Joe Orton whose
brief, brilliant career was cut
short when he was murdered by
his male lover.
Both films are powerful in dif-
ferent ways. Both films are far
more mature and thoughtful
than the run-of-the-mill com-
mercial film. But, while both
are tastefully done with prac-
tically no graphic sex, both are
unblinking in covering their
subjects. Let it not be said that
I failed to warn the timid.
Working Girls achieves an ex-
traordinary degree of realism.
It seems at times that the
camera is window-peeping —
the action is that spontaneous
and unforced.
Part of this effect is created by
the way director Lizzie Borden,
a former Detroiter by the way,
uses her camera. She sets it up
on a shot and leaves it there, a
la early Andy Warhol movies.
The actors come and go while
the camera remains static. This
does succeed in creating a feel-
ing of cinema verite; but, unfor-
tunately, as the actors move out
of the original frame, their
heads are occasionally cut off.
This is only a minor distrac-
tion, however. The film is very
well done.
The women in the film are
written and played well. Each
girl's character is sharply etch-
ed: the tough, young hooker,
just off the streets; the aging
courtesan; the nervous new
girl.
The central character, Mollie,
whose story this is, comes off
best of all. She captures the pro-
stitute's fakery in a subtle man-
ner: nothing so heavy-handed
as Jane Fonda's glancing at her
watch in Klute as she simulates
passion.
The male actors don't do as
well as the women. Some of
them are quite amateurish.
Maybe that's partly because
they are used primarily as foils.
There are a few exceptions,
though, where we see how
desperate for affection some of
these men are — how they
engage in a pathetic self-
deception as they pretend there
is something real in the
relationship.
Working Girls moves at a
measured pace and is more of
a character study than
anything else. There is little
plot in the usual sense. But, by
the film's end, these women
have become quite real. You

Gary Oldman:
Joe Orton in "Prick Up Your
Ears."

know a lot about them and you
are moved.
Which brings me to my ma-
jor concern about Prick Up Your
Ears. At film's end I knew very
little more about playwright
Joe Orton's inner demons than
I knew at the beginning. The
major questions are left for us
to answer by implication only:
Why did Orton remain lock-
ed in a miserable, tortuous rela-
tionship with Kenneth
Halliwell?
What drove Orton to his
endless cruising and casual sex-
ual encounters?
But this is not to say that this
is not a good film. On the con-
trary, it is an excellent film
with great impact.
Gary Oldman is extremely
good as Orton. He plays it with
just the right degree of swagger,
projecting a cocky, insouciant,
would-be-macho Orton.
But, as good as Oldman is,
that's how bad Alfred Molina is
as the lover, Kenneth Halliwell.
Molina starts at such a high
pitch he has nowhere to go.
With eyes bulging, face con-
torted, and voice screeching, he
becomes a caricature and gets
laughs in the wrong places.
Prick Up Your Ears is inten-
tionally very funny at times in
a caustic, bitchy way. The pica
ture's title is the kind of
outrageous pun that Orton
himself might have loved. As
David Denby points out in New
York Magazine, "ears" when
slurred with an English accent
could be heard as "arse."
Venessa Redgrave, as Orton's
agent, is marvelous. She pro-
jects all the charm and
toughness the character needs,
setting just the right tone.
Wallace Shawn, on the other
hand, is dreadful. Who ever got
the idea that this man can act?
He is an oddity, and, as such, is
suitable only for awful pictures
like the eccentric My Dinner
with Andre.
In spite of all this, Prick Up
Your Ears is an outstanding
film.

