Sex and the city something just came up


07-Jul-2016 10:53

That plea gets second prize for the most revealing line in the film, the winner being Miranda’s outburst as she hunts for an apartment in a mainly Chinese district: “White guy with a baby!

Wherever he’s going, that’s where we need to be.” So that’s what drives these people: Aryan real estate.

You cannot simply shift a load of television actors onto a movie screen and expect them to command its greater expanse; only one in a thousand will be able to summon that mysterious confluence of presence and reserve on which stardom relies—the will both to offer oneself to the camera and yet to keep back the hidden, unguessable sources of that self.

We should not be surprised, therefore, that Kim Cattrall’s come-ons wilt in the transition; but who would have guessed that Sarah Jessica Parker, a nimble performer who had a career in movies, should also seem diminished and ill at ease?

If so, would she commit suicide by self-pity (a constant threat), or would a crocodile escape from the Bronx Zoo and wreak a flesh-ripping revenge for all those handbags?

Not a drop of the forthcoming plot had been leaked in advance, but I took a wild guess. The televised episodes, which ran from 1998 to 2004, lasted for no more than half an hour each.

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The tactic here is basically pornographic—arouse the viewer with image upon image of what lies just beyond her reach—and the film makes feeble attempts to rein it in.On TV, “Sex and the City” was never as insulting as “Desperate Housewives,” which strikes me as catastrophically retrograde, but, almost sixty years after “All About Eve,” which also featured four major female roles, there is a deep sadness in the sight of Carrie and friends defining themselves not as Bette Davis, Anne Baxter, Celeste Holm, and Thelma Ritter did—by their talents, their hats, and the swordplay of their wits—but purely by their ability to snare and keep a man. It’s true that Samantha finally disposes of one paramour, but only with a view to landing another, and her parting shot is a beauty: “I love you, but I love me more.” I have a terrible feeling that “Sex and the City” expects us not to disapprove of that line, or even to laugh at it, but to exclaim in unison, “You , girl.” I walked into the theatre hoping for a nice evening and came out as a hard-line Marxist, my head a whirl of closets, delusions, and blunt-clawed cattiness.