Independent Pick: Secretary (2002)
Secretary is one of those movies about which people make assumptions – assumptions based on the movie poster, assumptions based on the style of music on the soundtrack, and assumptions based on sensationalist attitudes toward one of the themes of the film: BDSM relationships. The truth is, however, that Secretary is a wonderfully made, brilliantly written and perfectly performed film, exploring what happens when two people find enough acceptance in one another – affording the space and opportunity to truly be themselves. In that respect, Secretary is simply about love.
Socially awkward and emotionally troubled Lee Holloway (Maggie Gyllenhaal) is released from the hospital after what is implied to have been a serious incident of self-harm. Trying to settle back in with her dysfunctional family, she learns how to type, dates a high school friend – Peter (Jeremy Davies) – and gets a job as a secretary for isolated attorney E. Edward Grey (James Spader). As they work alongside each other, Grey becomes angered by Lee’s various mistakes, unprofessional appearance and personal habits. He verbally reprimands her, which increases the submissive nature of her behavior and in turn, increases the sexual desire in him. Her natural submissiveness appeals to his natural dominance, and he becomes locked in a beautifully played-out battle with himself to contain his own compulsions.
As tension builds in the workplace, Grey confronts Lee about her need to self-harm, bringing the two closer together to point that they eventually embark on a BDSM relationship. Their bond deepens, and Grey and Lee evolve in a variety of ways, until he begins to experience shame and self-doubt. As he questions his own behavior, Lee gains confidence in hers, and he puts their relationship to the ultimate test.
Written and directed by Steven Shainberg (Fur), with Erin Cressida Wilson (Chloe) also taking screenplay credit, Secretary is based upon the short story ‘Bad Behaviour’ by Mary Gaitskill. Notable for its elegant and affecting production design, the film works brilliantly because of the performances turned in by Gyllenhaal and Spader. While Spader is the embodiment of internal conflict, Gyllenhaal creates a character that audiences can immediately invest themselves in – making it all the more uncomfortable when Grey responds to the electrifying tension in the room by inflicting corporal punishment for persistent typing errors. It is the reactions of both parties to this boundary-crossing, however, that spins the film on its head and jettisons us off into an unexpected, but wholly satisfying direction.