In The Cut [DVD] [2003]

"In the Cut" is the movie where Meg Ryan gets naked, which is apparently the easiest way to refer to this 2003 film, which is directed by Jane Champion and adapted from by the director and the writer from the novel by Susanna Moore. The nudity is appropriate because Meg Ryan's character, Frannie Avery, is a sexual creature and the motivation for most of which she does in this film is sexual in nature. Besides, Frannie looks and acts differently enough from her other roles that I had no problem thinking this was Frannie naked and not Meg Ryan. You can argue that her nudity should have been in the service of a much better film (i.e., something on the level of "The Piano"), but I do not think you can fault its honesty in this film.

At its core "In the Cut" is a slasher flick, but one that pays little attention to the slasher when they are doing their evil deeds. The focus is on Frannie and the way that she insists on treading into dangerous waters because apparently that is where there is really great sex. After a woman is brutally murdered and "dearticulated," Frannie meets homicide detective James Malloy (Mark Ruffalo), who is investigating the case. She thinks she has seen him and he is interested in her. He is rather crude, but it turns out he can deliver in the bedroom and the fact that Frannie is suspicious about who he really is does not matter anymore, even as the killings start coming closer to home for her. Apparently great sex or even the possibility of great sex is worth dying for in the world in which Frannie lives. The most real relationship Frannie has is with her half-sister Pauline (Jennifer Jason Leigh), and while they have some realistic and earnest talks about their sex lives, her sister only serves to enable Pauline to walk on the wild side.

The relationship between Frannie and Malloy (the term "romance" does not apply) might be strange and weird but it at least feels real. The problem with "In the Cut" is in the thriller part of the equation, because the obvious answer is so obviously wrong that figuring out the mystery part is not that difficult. Fortunately the slasher part of the equation is ultimately the less important part of the story, which is a strange and weird statement to make, but watch the movie and it will make sense.

Actually, the part at which I thought the film went too far was, oddly enough, a pivotal scene set at the Little Red Lighthouse beneath the George Washington Bridge. When Captain Kangaroo died I reviewed that book, because of the strong association I had with it and the beloved Captain, so seeing it as a setting in this movie was one of those things that inspired sudden visions of grave spinning. Of course, if I had seen this film a month earlier I would not have had that reaction.

Frannie explores her boundaries with the tough and passionate cop Molloy (played by Mark Ruffalo) who she met while he was investigating a series of horrific murders that took place in Frannie's neighbourhood. Campion deals with Frannie's split instincts of suspicion and desire beautifully, the air of restraint and mystery are most admirable contrasting the fierce intensity of the sexual scenes. I was equally impressed by Campion's trademark sepia-drenched dream/nostalgia sequences that are at first presented innocently and after a few interjections throughout the film suddenly translate into something deeply menacing. It was, however, the stunning final sequence that I felt packed the most potent mesmeric punch.