Secretary

3 ½ Stars

Rated R for strong sexuality, some nudity, depiction of behavioral disorders, and language

Director

Steven Shainberg

The other side of darkness

Starring

You get the idea, from the previews, that the relationship between buttoned-up secretary Lee Holloway (Maggie Gyllenhaal) and her boss, attorney E. Edward Grey (James Spader), is a sexual comedy. What it is not is another fluffy cat and mouse game in which you know the ending, and two people who are opposites finally attract. Director Steven Shainberg provides a unique perspective on S&M. It explores the possibility that some of the practices might have appeal for other than sexual freaks (Sex and Strangers), and how these prurient behaviors might be overcome, or worked into one's everyday life. Like last year's critics' favorite and cult hit "Ghost World" (Thora Birch, Scarlett Johansson and Steve Buscemi), "Secretary" speaks to young adults with issues more serious than losing the election for prom queen.

Recently released from a mental institution because of her suicidal tendencies, Lee is undoubtedly a fragile soul. She lives with her oddball mother Joan (Lesley Ann Warren) and recovering alcoholic father Burt (Stephen McHattie), who are on the alert anytime something in Lee's life does not go according to plan. When she gets frustrated, out comes the razor blade, if not to kill, to relieve the mental pain with a bit of self-mutilation; perhaps a little cut inside the thigh. Maggie Gyllenhaal is totally convincing in her vulnerable portrayal in this non-drug induced foggy world. Lee is a true fish-out-of-water personality, until she attends typing school and applies for a job with attorney Grey.

The first indication that Grey is not your normal, hard driving boss is the professionally painted, permanent, wooden sign hanging outside his office building, which reads "Secretary Wanted." He goes through them like folks eat Super Size French fries. If you missed that hint, his political incorrectness and legally questionable job interview queries leave no doubt, as he asks things such as "Are your pregnant?", "Are you married?" and "Do you live in an apartment?"

Grey is an arrogant tyrant, who freaks out over the slightest typo, which occurs more than usual because his office is equipped with old-fashioned typewriters, rather than personal computers with spell check. One day he decides to punish Lee by telling her to lean on the desk so he can give her a spanking on the rear end. To his surprise, not only does she seem not to mind, as she is reading the letter, she enjoys it.

A mutually gratifying relationship develops, complete with handcuffs and three-inch high heels. Lee wants to move things forward, and uses the most powerful language known to humans, "I love you." In this balance of dominance and subservience, do we sense a subtle shift of power? Perhaps Grey does, as he decides to fire Lee; but not without a bizarre display of his faltering control of this erotic fantasy.

Often we wonder why some people are together, and seem genuinely happy with each other, when it's clear that in some ways they are very different. The path to togetherness can converge quite unexpectedly. We meet not always as high school sweethearts or on a dream date, but sometimes in ways that could not be scripted. Fortunately for us, director Steven Shainberg and screenwriter Erin Wilson bring a controversial and "psyche-sexual" tweaking experience to the screen. Lee and Edward show that anything is possible.