Director Jane Campion presents gritty sexuality in an artfully contradicting way in her latest film, \In the Cut.""
The movie follows Frannie Avery (Meg Ryan), an English teacher who is forced to battle her conflicting desires for danger and eroticism against her need for safety. Frannie is questioned during a murder investigation after a piece of the victim lands in her backyard, which leads her to become entangled with Detective Malloy (Mark Ruffalo), an unsettling yet sincere police officer working on the case. Their relationship quickly turns sexual, but Frannie is unsure of the wisdom of the relationship. Her sister Pauline (Jennifer Jason Leigh), who is less than qualified to give relationship advice, encourages Frannie's sexuality and urges her to take a chance with Malloy.
As the serial killer claims more victims, the audience is led to believe any one of the male characters in the movie could be the killer, including a disturbed ex-boyfriend (Kevin Bacon) and a suspiciously compassionate student of Frannie's (Sharrieff Pugh). When the killer is finally revealed, it causes a ""Well, duh,"" moment, and the ending of the film does not quite live up to the rest of the movie.
While much has been made of Ryan stepping out of her romantic comedy typecasting (the fact that she appears topless in several scenes is the least of her ""coming outs""), it is Ruffalo that is most impressive. A darkly mysterious character, the audience is torn between compassion for Malloy's attempts at being seductive and caring, and disgusted at his creepiness and crude remarks. Ruffalo portrays these contradictions convincingly, keeping the audience suspicious of his morality.
""In the Cut"" is an erotic thriller without action. There is plenty of suspense, but the nature of the film avoids hold-on-to-your-seat sequences. The expectation of some tangible, bloody engagement is maintained throughout the movie, and when it finally occurs, the experience is worth the wait thanks to the sublime work of Campion and cinematographer Dione Moore. The real beauty in this film is not the plot; it is the masterful work of directing and editing that creates a unique tone perfect for this particular movie.
Campion's artful use of camera work and Moore's fluidity in scene transitions portray an essence of New York City not recently found in cinema. The introductory scene of Frannie and Malloy is shot as such a realistic car ride that near-motion sickness ensues in the theater. Through camera movements, blurring and coloring, Campion creates a world of crime and sexuality that is both believable and unimaginable. The crime scenes are brutal yet sensitive and the numerous sex scenes are expressive, gritty and raw. From the opening with an eerie version of ""Que Sera Sera,"" to the final scene, the film evokes a entertaining and unsettling atmosphere that is not easily shaken off.
