The film ‘Secretary’, directed by Steven Shainberg in 2002 captures a unique blend of romance and drama revolving around concepts of: ‘mastery’, ‘submission’, and even ‘self-discovery’. It startlingly features domination and tender emotions simultaneously. Shainberg’s Gaitskill adaptation of the short story ‘Secretary’ drew massive attention because of its questionable yet nuanced themes and performances like Maggie Gyllenhaal’s who gave an astounding and provocative portrayal of the lead. Secretary captures the essence of a love story—an unorthodox one at that. It keeps in mind societal expectations of romance whilst abandoning many conventions portraying a couple stripped down to the bare essence of comfort, identity, and understanding in each other.
The film opens with a scene showcasing the life of Lee Holloway, portrayed by Gyllenhaal, a young woman who is just coming to terms with her mental health post a self harming episode. In this scene, she embodies the role of the introvert silently battling with feelings of unworthiness, shame, and a low sense of self esteem within a fractured family system led by a self absorbed alcoholic father and an overbearing and domineering mother. Ultimately Lee sought doctor approval at a psychiatric ward leading to her institutionalization giving her family a semblance of control.
In a bid to gain independence, Lee acquires typing skills and a position as a secretary for an enigmatic, somewhat withdrawn lawyer, E. Edward Grey (James Spader). Grey is a meticulous and distant type; he imposes strict professional rules which, as the story progresses, become more and more personal—albeit in profoundly strange ways.
While settling into her new routine, Lee quickly learns that Grey has a unique approach to enforcing discipline. His initial comments regarding correcting her typing errors rapidly shifts to discipline of a different kind. Spanking as correction begins to alter both Lee and Grey profoundly. For Lee, these unsought moments of pain become freeing at a primitive level, while paradoxically providing order, acceptance, and emotional solace unlike anything else in her life. For Grey, the acts of defiance are a bittersweet reminder of his unresolved wishes.
The bond between Lee and Grey is not abusive in nature; instead, it is a consensual, intimate, and personal journey into BDSM. The sensitivity and intellect that Secretary employs while handling this issue is striking. The film captures BDSM not as a sensationalized caricature, but as a genuine and profound emotional bond that two individuals can share. It portrays both participants as having agency and argues that such relationships, when rooted in consent and understanding, are as significant as any other form of love.
The movie would not have succeeded without the stunning performance by Maggie Gyllenhaal as Lee. She beautifully captures Lee’s metamorphosis from an anxious, timid girl to a carefree, self-assured woman in commanding possession of her identity. The relationship with Grey has an influence on Lee’s transformation, but it is her self-discovery narrative that is central to it all. Ironically, in the process of exploring submission, she exercises control and empowerment. Gyllhaal’s portrayal of Lee makes her both warm and vulnerable, and brutally candid, thus making her journey believable and compelling.
Spader – an actor typecasted as dark, intense characters – gives an equally strong performance in the role of Edward Grey. He captures all the nuances of the character, portraying a man not simply as a brute forcing his way through life, but as a very troubled person who is terrified of his own wishes and completely at odds with them. Spader portrays Grey’s struggle requiring subtle touches thanks to making him as sympathetic as he is impenetrable.
The film is enhanced by the surreal and dreamlike cinematography by Steven Fierberg. Grey’s and Lee’s exchanges are surreal and vibrant, far beyond the office setting which could’ve been lifeless. The imagery is often tender in that it is composed of close-up details of hands, faces, and small movements, adding to the psychological space, intimacy, and tension of the film.
Equally Al Angelo Badalamenti is responsible for the atmosphere of the film with his score. Badalamenti, famed for his work with David Lynch, does not disappoint infusing the story’s underlying emotional strangeness with an exquisitely haunting romantic essence.
What the Secretary achieves is normalizing a type of relationship that is often overlooked or shunned – BDSM is depicted not as a deviant inclination but rather a valid, even nurturing bond for those who opt for it voluntarily and with full awareness. The film does not moralize but instead attends to the emotional truth of the characters. It examines how people attempt to navigate trauma, loneliness, and the need for closeness in an often unaccepting world.
Secretary’s reception has been largely positive. Despite the heavy themes that might have turned off some audience members, it was lauded for being unique, multi-dimensional, and for the unflinching performances of its lead actors. Boston-born Gyllenhaal, in particular, garnered massive attention and multiple award nominations for her portrayal, which is now regarded as one of her career-defining roles for Gyllenhaal. Spader also received praise for his portrayal of Grey, which was complex and understated.
To summarize, Secretary is not a movie that everyone will enjoy but for those that engage with the themes, it provides an unforgettable experience that is both soft and provocative. The film embraces the impact of being vulnerable, having the bravery to pursue one’s affections, and the extraordinary ability to make connections in the least likely places. Secretary is much more than a narrative about kinks or power imbalance; it depicts two individuals figuring out how to love themselves, and more importantly, each other, in the ways they wish to.
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