Why Would I Lie

(1980)

Genres:

Classics from the Vault: Changing Sex Roles (1980)

Transcript for Classics from the Vault: Changing Sex Roles (1980)

Christy Lemire:
OH, HOW THINGS HAVE CHANGED IN HOLLYWOOD ESPECIALLY WHEN IT COMES TO SEX ROLES. I'M CHRISTY LEMIRE OF THE ASSOCIATED PRESS.

Ignatiy Vishnevetsky:
AND I'M IGNATIY VISHNEVETSKY OF MUBI.COM. WE ARE LOOKING BACK AT SOME LANDMARK SHOWS FROM OUR VAULT. THIS ONE IS FROM 1980 WITH TWO CRITICS KNOWN AS SISKEL AND EBERT.

>> THIS IS FUN.
NO, I KNOW.
I LIKE IT.
[ SHOUTING ]
>> YOU SLEEPING WITH HER WAS AN ACCIDENT?
>> YES.
>> ALL RIGHT.
OKAY.
OUT.
OKAY.
>> ACCIDENT?
ACCIDENT?

Gene Siskel:
WHAT'S GOING ON HERE? A LOT OF WOMEN ARE PUNCHING MEN AROUND IN TODAY'S MOVIE AND THE MEN ARE TAKING IT.AT FIRST GLANCE, IT WOULD SEEM THAT SEX ROLES ARE CHANGING IN HOLLYWOOD FILMS, BUT ARE THEY? CHANGING SEX ROLES IS THE SUBJECT WE WILL BE EXPLORING ON THIS SPECIAL EDITION OF SNEAK PREVIEWS, TWO CRITICS TALKING ABOUT THE MOVIES. ACROSS THE AISLE, ROGER EBERT OF THE "CHICAGO SUNTIMES."

Roger Ebert:
AND ACROSS THE AISLE FROM ME IS GENE SISKEL OF THE "CHICAGO TRIBUNE." MEN AND WOMEN FOLLOWED THE SAME OLD TRADITIONAL LINES. IN GENERAL THE MEN WERE BRAVE, STRONG AND IN CHARGE OF THINGS AND THE WOMEN WERE SUBMISSIVE, SOFT OR WHAT WE USED TO CALL FEMININE. IN THE PAST FEW YEARS HOLLYWOOD HAS TURNED THE TABLES AND WE ARE SEEING SENSITIVE, INSECURE, MEN WITH PROBLEMS AND WOMEN WHO ARE MORE MACHO. WE WILL LOOK AT SEX ROLES, HOW THEY HAVE CHANGED AND WHY THEY CHANGED AND HOW DEEP THE CHANGES REALLY GOOD. AND NOW GENE STARTS WITH THE CHANGING PORTRAYAL OF MEN.

Gene Siskel:
MEN ARE SHOWING A LOT MORE EMOTION. IF TIGHT LIPPED GARY COOPER WORE MALE MODELS, TODAY THE MORE TYPICAL MALE PORTRAYAL IS SOMETHING LIKE THE BLUBBERING MICHAEL MURPHY CHARACTER IN "AN UNMARRIED WOMAN" CRYING. AS JILL CLAYBURGH RAMBLES ON ABOUT HER GIRLFRIENDS AND HE CONFESSES HE HAD AN AFFAIR.

>> I LOVE OUR MEETINGS.
THEY ARE SO  WELL, IT'S KIND OF LIKE A CONTINUING STORY.
IT'S PART MARY HARTMAN AND PART INGMAR BERGMAN.
I LOVE THE WOMEN.
MARTY, MARTY, WHAT IS IT, HONEY?
WHAT'S THE MATTER?
WHAT IS IT?
WHAT?
TELL ME.
>> I'M IN LOVE WITH SOMEBODY ELSE.
I'VE BEEN SEEING HER FOR A YEAR.
AT FIRST I THOUGHT IT WAS JUST A FLING, BUT IT ISN'T.
I LOVE HER.
OH, GOD.
I DON'T WANT TO HURT YOU.

Gene Siskel:
NOW THAT'S A SURPRISING NEW IMAGE IN THE MOVIES, A MAN CRYING IN PUBLIC. ANOTHER IMPORTANT EXAMPLE OF CHANGING MALE BEHAVIOR IN THE MOVIE IS BURT REYNOLD'S ROLE IN THE MOVIE "STARTING OVER" HERE HE IS IN JILL CLAYBURGH. SHE'S PLAYING ANOTHER UNMARRIED WOMAN HERE. AS YOU WATCH THIS SEEN, TRY TO IMAGINE GARY COOPER OR CLARK GABLE SAYING BURT REYNOLD'S LINE.

>> I HAVE TO COME STRAIGHT OUT WITH IT.
>> I WISH YOU WOULD.
>> WELL, I'VE GOT TWO THINGS THAT I JUST HAVE TO GET OFF MY MIND TONIGHT.
ONE IS I'M VERY NERVOUS ABOUT TEACHING THIS CLASS FOR THE FIRST TIME.
>> WHY ARE YOU SO SURE THAT NUMBER TWO IS THE KILLER?
>> I WANT TO HAVE SEX WITH YOU?
>> GULP.
I  IT SEEMS VERY STRANGE.
>> IT DID SOUND A LITTLE BIT LIKE TARZAN.

Gene Siskel:
BURT REYNOLDS. MEN ARE SHOWING A LOT MORE EMOTION THAN THEY SHOULD HAVE. MEN WHO ARE NOT IN CONTROL OF THEMSELVES AND CERTAINLY THEIR WOMEN. I THINK IT'S ADMIRAL FOR MEN TO BECOME MORE COMPASSIONATE AND UNSURE OF THEMSELVES. HOLLYWOOD CHARACTERS MUST HAVE THOSE SAME CHARACTERISTICS. IT'S A STANDARD WAY FOR MOVIES TO GET US TO IDENTIFY CHARACTERS.

Roger Ebert:
YOU KNOW WHERE YOU STAND AT THE BEGINNING. IT GIVES YOU A LITTLE BUSINESS OR SHTICK FOR THE MALE CHARACTERS TO DO. THE GUY IS IN THE GARDEN OR HE'S A MASTER CHEF OR HE HAS CATS OR MODEL TRAINS OR SOMETHING. GUYS IN MOVIES USED TO HAVE GUNS IN THEIR HANDS AND NOW THEY HAVE WOODEN SPOONS BUT THEY GO AGAINST CAST. THEY TAKE A CLINT EASTWOOD OR A BURT REYNOLDS AND THEN THEY GIVE THEM THESE THINGS TO DO.

Gene Siskel:
THE REASON IT'S DONE. MOVIE CHARACTERS, IF THEY WILL START OUT AND GET YOU HOOKED FOR A WHOLE PICTURE, YOU HAVE TO HAVE SOME TYPE OF IDENTIFICATION WITH THE CHARACTER OR ADMIRATION OF THE CHARACTER. YEARS AGO WITH GABLE AND JOHN WAYNE, YOU FELL COMFORTABLE AND SORT OF ADMIRING AND THEY WERE IN CONTROL. TODAY YOU SHOW AN IN CONTROLLED KIND OF CHARACTER AND SUDDENLY PEOPLE THINK THAT HE'S STANDOFFISH, AND HE'S BOLD, BRAZEN. IT'S NOT THE SAME REACTION.

Roger Ebert:
YOU GET A MACHO GUY AND THEY ENGAGE IN DIME STORE PSYCHOANALYSIS, HE'S COMPENSATING.

Gene Siskel:
THAT GETS US HOOKED INTO THE STORY AND GETS THE EDIFICATION AND GETS THE STORY ROLLING.

Roger Ebert:
MEN HAVE NOT ONLY CHANGED. WOMEN'S HOLLYWOOD CHARACTERS HAVE CHANGED TOO. AND BASICALLY WHAT IT COMES DOWN TO IS THEY ARE SAYING NO A WHOLE LOT MORE OFTEN THESE DAYS. IN THE OLD DAYS WHEN A WOMAN WAS SAYING NO, SHE WAS REFERRING TO ONLY ONE THING, SEX. BUT IT'S NOT LIKE THAT ANY MORE. THE WOMEN CHARACTERS ARE SAYING NO TO ALL SORTS OF THINGS, LIKE THE ROLES THEY ARE EXPECTED TO PERFORM IN LIFE, THE TRADITIONAL DUTIES. FOR EXAMPLE, HERE'S MERYL SCREEN IN KRAMER vs. KRAMER, WALKING OUT VERY MATTER OF FACTUALLY ON HER LITTLE BOY AND DUSTIN HOFFMAN.

>> I HAVE TO GET THOSE PHOTOS BY TOMORROW MORNING.
>> I'M LEAVING YOU.
>> HONEY, PLEASE.
I CAN'T HEAR.
WHAT?
OKAY.
YOU TOO.
THANKS A LOT.
SEE YOU TOMORROW.
DID YOU GUYS EAT?
>> TED, I'M LEAVING YOU.
TED.
KEYS.
HERE ARE MY KEYS.
HERE'S MY AMERICAN EXPRESS CARD.
HERE'S MY BLOOMINGDALE'S CREDIT CARD.
HERE'S MY CHECKBOOK.
I HAVE TAKEN $2,000 OUT OF OUR SAVINGS ACCOUNT BECAUSE THAT'S WHAT I HAD IN THE BANK WHEN WE FIRST GOT MARRIED.
>> IS THIS SOME KIND OF A JOKE?
WELL, I'M SORRY THAT I WAS LATE BUT I WAS BUSY MAKING A LIVING, ALL RIGHT?
COME ON, OKAY?
CAN WE STOP NOW?
>> THAT'S EVERYTHING.

Roger Ebert:
WELL, THAT'S EVERYTHING, ALL RIGHT. SHE'S WALKING OUT ON HER HUSBAND, HER SON, HER HOME AND HER WHOLE LIFESTYLE. IN ANOTHER MOVIE "THE SEDUCTION OF JOE TYNAN." HERE'S ALAN ALDA AS A UNITED STATES SENATOR AND BARBARA HARRIS AS HIS WIFE OF MANY YEARS. SHE LAUNCHED A CAREER OF HER OWN.

>> WHAT WOULD YOU THINK ABOUT LIVING IN WASHINGTON?
>> MEANING MOVE THERE?
>> I THINK I NEED YOU DOWN THERE.
>> NO.
I WANTED TO MOVE TO WASHINGTON WHEN YOU FIRST GOT ELECTED AND YOU SAID TO STAY HERE SO THAT WE COULD HAVE THE WEEKENDS TO OURSELVES.
>> YEAH, WELL, NOW I DON'T HAVE WEEKENDS ANYMORE.
I HAVE TO LECTURE.
>> DO YOU THINK WE CAN LIVE ON WHAT I MAKE AS A SENATOR?
>> AND WHAT ABOUT MY WORK?
>> WELL, ISN'T THERE A PSYCHOANALYTIC INSTITUTE IN WASHINGTON?
>> WELL, I GUESS THERE IS BUT THE ONE THAT'S ACCEPTED ME IS IN NEW YORK.
AND THE MAN I WORK WITH, THE MAN WHO HAS BROUGHT ME ALONG TO THE POINT WHERE I AM NOW IS ALSO IN NEW YORK.
I DON'T JUST WORK IN A BUILDING, JOE.
THERE ARE PEOPLE THERE WHO MEAN SOMETHING TO ME.

Roger Ebert:
20 YEARS AGO WOULD HAVE BEEN UNTHINKABLE FOR A SENATOR'S WIFE TO PUT HER LIFE AHEAD OF HIS CAREER, ESPECIALLY IN THE MOVIES. EVEN MORE UNTHINKABLE WOULD HAVE BEEN THE WHOLE CROP OF NEW MOVIES THAT SHOW TOUGH INDEPENDENT WOMEN TAKING OVER AND RUNNING THE SHOW. WE HAD FAYE DUNAWAY IN NETWORK AND SALLY FIELD IN NORMA RAY AND BARBRA STREISAND IN THE MAIN EVENT. SHE'S TRYING TO CONVICT A FIGHT PROMOTER TO GIVE HER A CHANCE.

>> I THINK WE CAN MAKE A LOT OF MONEY OFF OF THIS FIGHT, LEO.
EVERYONE IS LOOKING FOR THE GREAT, WHITE HOPE.
HE'S NOT SO GREATEN THERE'S NOT MUCH HOPE, BUT HE'S BLONDE, BLUE EYES AND TEETH.
I THINK WE CAN BRING MORE WOMEN INTO THE FIGHTS AND MAYBE EVEN WITH THEIR HUSBANDS.
WE CAN SHORTEN HIS SHORTS AND I WILL SHOW MORE LEG.
LISTEN, I'M GOOD AT THIS, LEO.
YOU HAVE TO GIVE ME A CHANCE.
IN PERFUME BUSINESS I WAS AN EXPERT AT MAKING SOMETHING OUT OF NOTHING.
>> MANY I SPEAK TO MY MANAGER FOR A MOMENT, PLEASE.
>> BE MY GUEST IF YOU THINK YOU CAN GET A WORD IN.
>> DO YOU LIKE IT LEO?
>> I THINK IT HAS POSSIBILITIES.
>> YOU ARE VERY CUTE TOGETHER.
>> HILLARY?
>> WHAT, WHAT.
>> CAN I SEE YOU FOR A SECOND.
GET OVER HERE RED.
>> TO TALK.
I'M BUSY TALKING TO MR. GOS.
OKAY, OKAY, OKAY.
GEEZ, YOU DON'T HAVE TO BE SO VIOLENT.
BULLY.
>> I DON'T KNOW WHEN AND I DON'T KNOW WHERE, BUT I'M GOING TO GET YOU.
>> IS THAT A LET?
>> WHAT DO YOU THINK I AM?
A PIECE OF MEAT?
ONE OF YOUR PERFUMES?
YOU TREAT ME LIKE AN OBJECT.
WHAT DO YOU THINK I AM, A GIRL?
NO, I'M A PERSON.
I HAVE FEELINGS.
I'M A MAN!
>> I KNOW.
I KNOW, DIDN'T YOU HEAR ME CALL YOU A GLADIATOR.
HEY, KID DON'T BE SO NEGATIVE ABOUT YOURSELF.

Roger Ebert:
THAT'S A REAL SWITCHEROO. SHE TALKS ABOUT HOW SHE WILL MARKET THE GUY AS A SEX OBJECT. ALL THREE OF THESE WOMEN, MERYL STREEP, AND BARBARA HARRIS AND BARBRA STREISAND ARE TAKING POSITIONS THAT WOMEN IN THE MOVIES HAVE RARELY MADE BEFORE. WHAT'S AMAZING HERE IS HOW READILY THEIR BEHAVIOR IS ACCEPTED BY MOVIE AUDIENCES. MAYBE IT TELLS US SOMETHING ABOUT THE CHANGES TAKING PLACE IN OUR SOCIETY.

Gene Siskel:
I DON'T THINK THERE'S ANY MAYBE ABOUT IT. I THINK IT'S EXACTLY IT. JUST LIKE THE MEN TO HOOK IN TO TODAY'S MOVIE AUDIENCE, YOU HAVE TO SHOW, THE MOVIE CHARACTER HAS TO SHOW THAT THEY KNOW WHAT'S GOING ON IN THE PAST TEN YEARS IN CHANGING RELATIONSHIPS. THE WOMEN HAVE TO BE INDEPENDENT, OTHERWISE WE DON'T BUY THEM AND WE DON'T CARE TO FOLLOW THEM FOR THE WHOLE TWO HOURS. A WHOLE LOT OF PEOPLE ARE SAYING YOU FORGOT ABOUT SOMETHING. THIS IS NOT THE FIRST TIME WE HAD STRONG WOMEN IN THE MOVIES THERE'S BEEN KATHARINE HEPBURN AND BETTY DAVIS AND JOAN CRAWFORD. THIS IS THE SECOND EMERGENCE OF STRONG WOMEN.

Roger Ebert:
I THINK YOU ARE RIGHT. THIS SECOND EMERGENCE REFLECTS A CHANGING IDEA OF WOMEN IN THE SOCIETY. BUT THE FIRST EMERGENCE IN THE LATE '30s AND THE END OF WORLD WAR II, THAT WAS GOOD DRAMA, KATHARINE HEPBURN, WE ALWAYS THINK OF HER. AND THEN WHEN THE WAR CAME LONG AMERICA HAD TO GEAR UP AND SEND ALL THE MEN OVERSEAS TO FIGHT IT. THE WOMEN WERE LEFT AT HOME AND THEY WERE NEEDED IN THE FACTORIES AND THE ASSEMBLY LINES AND THE OFFICES, HOLLYWOOD PITCHED IN AND CREATED THE STRONG, RELIANT WOMAN SYMBOL BECAUSE THE WAR NEEDED IT. WE HAD ROSY THE RIVETER WORKING THE NATIONAL DEFENSE. THE FUNNY THING IS WHEN THE WAR WAS OVER AND THE GUYS CAME HOME AND GOT MARRIED AND THE WOMEN WENT BACK INTO THEIR HOMES AND STARTED THEIR FAMILIES, HOLLYWOOD WENT RIGHT BACK TO SQUARE ONE AND PUT THE WOMAN BACK IN HER HOME. WE HAD ANOTHER 25 YEARS OF MINDLESS SEX SYMBOLS AS IF THE DECADE FROM '37 TO '46 NEVER TOOK PLACE. IT'S VERY STRANGE.

Gene Siskel:
IT WOULD BE EASY TO ASSUME WHAT WE WERE TALKING ABOUT IS A TOTAL REVOLUTION OF THE WAY MEN AND WOMEN ARE PLAYED. IT WOULD BE NICE TO SAY THAT, BUT THE CHANGES WE ARE TALKING ABOUT AND THE NEW GENERATION OF MOVIE CHARACTERS IS OFTEN SUPERFICIAL. YES, THE MEN BREAK DOWN. YES, THE WOMEN ARE STRONG, ESPECIALLY IN THE BEGINNING OF THE MOVIES. YES, THEY GIVE US AN EARLY SIGN THAT THEY ARE MODERN CHARACTERS BUT AT THE END OF THESE FILMS, WHAT HAPPENS? WELL, OFTEN ENOUGH, TIME AFTER TIME, WE GET TRADITIONAL MALE DOMINATED RELATIONSHIPS AND OLDTIME HOLLYWOOD ENDING. BACK TO THE STATUS QUO WITH A COMFORTABLE SIGH OF RELIEF. FOR EXAMPLE, TAKE A LOOK AT THIS SCENE IN "ALL THAT JAZZ" WITH DANCER ANN RANKING. SHE ASKED HER LOVER ROY SCHEIDER IF SHE SHOULD LEAVE HIM AND GO ON THE ROAD.

>> I LOVE YOU, BUT I THINK YOU SHOULD DO WHAT'S BEST FOR YOU.
>> JUST WHAT DO YOU MEAN, JOE?
>> I MEAN FOR YOUR SAKE, I THINK YOU SHOULD GO.

Gene Siskel:
NOW SHE SEEMS PRETTY INDEPENDENT, THERE DOESN'T SHE? HANG ON, A FEW MINUTES LATER IN THE SAME SCENE, WATCH WHAT HAPPENS.

>> SOFTLY AND WITH FEELING.
DON'T GO.
PLEASE.
[ GIGGLING ]

Gene Siskel:
NOW, THAT'S THE KIND OF SWITCH WE ARE TALKING ABOUT, ONLY USUALLY YOU HAVE TO WAIT UNTIL THE END OF THE MOVE BEFORE YOU GET IT. IN THIS CASE, THE INDEPENDENCE IS ONLY A TEMPORARY AFFLICTION. THE OTHER ONE IS BRUCE DERN PLAYING A BUILDING CONTRACTOR WHO GOES THROUGH A MIDLIFE CRISIS ON HIS 40th BIRTHDAY. HIS WIFE ANN MARGARET HAS HAD A ONENIGHT STAND AFTER HE SPENT THE WHOLE MOVIE PRACTICALLY ON A REJUVENATION BINGE WITH A DALLAS CHEERLEADER BUT HERE AT THE END OF THE FILM, IT'S BACK TO HOLLYWOOD NORMAL. IT'S MIDDLE AGE CRAZY

>> HI.
WHAT ARE YOU DOING?
>> JUST SETTING HERE IN THE HOT TUB.
>> YOU LOOK A LITTLE CRAZY, BOBBY.
>> I GUESS I AM A LITTLE CRAZY.
GOT HOT WATER SHOOTING UP MY... I GOT IT ALL.
ALMOST.
>> YOU MEAN ABOUT LAST NIGHT?
>> THAT WAS LAST NIGHT.
>> OH, IT WAS?
>> IT DOESN'T MATTER WHERE YOU WERE.
ALL THAT MATTERS IS THAT YOU ARE HOME NOW.
IF YOU ARE.
>> I DON'T KNOW.
YOU WANT ME TO BE?
>> I NEVER KNEW HOW MUCH.
>> BUT LAST NIGHT 
>> THAT WAS LAST NIGHT.
ALL I KNOW THAT I LOVE YOU NOW.
>> OH.

Gene Siskel:
NOW, THE MESSAGE THAT THE WOMEN IN THESE FILMS SEEM TO BE SENDING IS OKAY, MEN, SHOW US IN THE BEGINNING YOUR VULNERABLE SIDE. SHOW US YOU ARE NOT JUST ANOTHER ROUTINE MACHO DUDE AND THEN HAVING DONE, THAT NEAR THE END OF THE PICTURE, YOU CAN PRETTY MUCH DO WHATEVER YOU WANT, WE WILL STILL ACCEPT YOU. IT SEEMS THAT THE SEXUAL REVOLUTION HAS NOT BEEN COMPLETELY WON IN HOLLYWOOD. RATHER WOMEN HAVE SAID WE HAVE MET THE ENEMY AND WE STILL KIND OF LOVE HIM.

Roger Ebert:
DO YOU KNOW WHAT I THINK IS GOING ON HERE? I THINK THERE'S A POWERFUL CONSERVATIVE INFLUENCE HERE OF EVERYBODY IN THE MOVIE INDUSTRY TO HAVE A HAPPY ENDING. I THINK THERE ARE HAPPY ENDINGS FOR A REASON. YOU CAN HAVE THE LIBERATED WOMAN AND THE NEW MAN AND GO THROUGH ALL OF THESE DIFFERENT PAGES THROUGH THE PSYCHOLOGY TODAY, BUT THERE'S A REAL IMPULSE TO MAKE THEM INTO A COUPLE AND TO SOMEHOW MAKE IT ALL OKAY.

Gene Siskel:
IT'S THE COMMERCIAL ENDING. IT'S SAFER. IT DOESN'T CHALLENGE THE AUDIENCE. I WOULD RATHER HAVE MORE CHALLENGES THAN WE ARE GETTING NOW. RIGHT NOW IT'S WEIGHTED WAY OVER TO THE TO GO HAPPY ENDING. AND I WOULD RATHER HAVE THE KIND OF ENDING WHERE THE COUPLE SQUARES OFF AND FACES EACH OTHER IN THE EYE AND SAYS  MAKES DIFFERENT DECISIONS ABOUT EACH OTHER. NOT ALWAYS HUG AND KISS.

Roger Ebert:
YOU KNOW PEOPLE SAY WHY CAN'T THERE BE A HAPPY ENDING?
AREN'T THERE HAPPY ENDINGS IN REAL LIFE? I SUPPOSE THERE ARE SOME IN REAL LIFE BUT WHEN IT COMES AT THE END OF THE MOVIE, YOU SEE IT AS A SOLUTION. IT'S ALMOST GENERIC. IT BELONGS IN THE LAST FIVE MINUTES AND THERE ARE ALL KINDS OF CONVENTIONS AND WE KNOW WHAT TYPE OF MUSIC TO EXPECT AND SHOTS TO EXPECT. IF YOU HAD A VERY GOOD MOVIE, IT ALMOST PUTS DOWN WHAT WENT ARE BEFORE BECAUSE YOU'VE HAD ALL OF THESE COMPLEXITIES AND SUDDENLY THEY ARE FORCED INTO THIS FORMULA.

Gene Siskel:
AN EXAMPLE OF THE KIND OF FILM I THINK WE ARE TALKING ABOUT WE WOULD RATHER SEE, AT LEAST ONCE IN A WHILE OR MORE OFTEN IS KRAMER vs. KRAMER, WITH THE ENDING WHERE THEY GET TOGETHER AT THE END, BUT THEY ARE INDEPENDENT.

Roger Ebert:
KRAMER vs. KRAMER IS A GOOD EXAMPLE. IF THEY GOT TOGETHER IT THE END AND IT WAS ALL HAPPY, I THINK MOST PEOPLE WOULD WALK OUT OF THE THEATER FEELING CHEATED. ANOTHER ONE IS THE SCENES FROM "A MARRIAGE" WHERE THE COUPLE GETS TO GO AND THEY TALK AND THEY SHARE LIFE EXPERIENCES AND THEN THEY PART.

Gene Siskel:
THEY MAKE AN AGREEMENT, I WILL LOVE YOU IN MY IMPERFECT WAY AND BACKWARDS AND FORWARDS.

Roger Ebert:
SO YOU HAVE A FEW MOVIES LIKE THAT AND A FEW MOVIES THAT AREN'T LIKE THAT. YOU TAKE WHAT YOU CAN GET. THERE ARE STILL SOME TRADITIONAL SEX STEREOTYPES THAT DO PREVAIL IN HOLLYWOOD AND PROOF OF THAT IS THE OFFICIAL NATIONAL SEX GODDESS. AMERICAN CULTURE REQUIRES ONE WOMAN EVERY FEW YEARS TO PLAY THE ROLE OF OUR TRADITIONAL SEX SYMBOLS. IT'S USUALLY JUST ONE WOMAN AS IF WE CAN ONLY FASHION ONE COLLECTIVE NATIONAL FANTASY AT A TIME. AND THE LAST 20 YEARS WE HAVE GONE THROUGH MARILYN MONROE, RAQUEL WELCH AND FARRAH FAWCETT TO NAME A FEW AND NOW ON THE BASIS OF ONE MOTION PICTURE, SEVERAL DOZEN MAGAZINE COVERS AND COUNTLESS THOUSANDS OF POSTERS, OUR CURRENT NATIONAL OBSESSION IS NAMED BO DEREK. HERE'S THE MOVIE WHERE IT ALL BEGAN WITH DUDLEY MOORE SPOTTING HER SUN BATHING IN THE COMEDY "TEN."

>> I THINK I WILL GO OUT AND GET A SURF BOARD.
DAMN!

Roger Ebert:
OKAY. NOW WHAT DOES BO DEREK HAVE TO SET HER ASIDE FROM ALL THE OTHER CONTENDERS FROM THE CROWN OF OFFICIAL NATIONAL SEX SYMBOL? BASICALLY WHAT SHE HAS IS A CONSENSUS. LIKE IT OR NOT, SHE'S THIS YEAR'S SEX SYMBOL, TANNED AND FREE RUNNING FOREVER OUT OF THE SUNSET AND TOWARDS DUDLEY MOOR WHO REPRESENTS FOR THE PURPOSES OF THIS DISCUSSION, OUR AGING, INSECURE, FOREVER HOPEFUL NATIONAL LIBIDO. BEFORE WE LEAVE THIS, LET'S TAKE A LOOK AT THE CURRENT SEX SYMBOLS OF YOUNGER MOVIE GOERS. HALF OF THE TOTAL MOVIE AUDIENCE IS UNDER 20 AND BELIEVE IT OR NOT, BO DEREK IS ALSO OLD ENOUGH TO BE THE MOTHER OF BROOK SHIELDS AND CHRIS ATKINS. IT WAS IN "THE BLUE LaGOON."

Roger Ebert:
BROOK SHIELDS AND CHRIS ATKINS IN "THE BLUE LAGOON." SOME THINGS NEVER CHANGE.

Gene Siskel:
I THINK YOU ARE RIGHT. WHAT HAVE WE LEARNED? NUMBER ONE, IN THE BEGINNINGS OF PICTURES SOME RATHER DRAMATIC CHANGES. THE WOMEN ARE ACTING MUCH MORE AGGRESSIVELY. THE MEN ARE ACTING MUCH MORE TIMIDLY AND WITH MUCH MORE CONFUSION ABOUT THEMSELVES. THAT'S ALL TO HOOK INTO THE AUDIENCE AND SAY WE KNOW WHAT'S BEEN GOING ON IN THE LAST TEN YEARS. TOWARDS THE END.

Roger Ebert:
THEN AT THE E ND, YOU HAVE THE HAPPY ENDING, LOCKED, IN MALE DOMINATED AND FILLED WITH CLICHES AND OFTEN GIVING TO LIGHT EVERYTHING THAT WENT ON BEFORE.

Gene Siskel:
THAT'S WHAT'S GOING ON BEFORE. WE HAVE SEX SYMBOLS FOR ADULTS AND SEX SYMBOLS FOR YOUNGER PEOPLE. AND THAT ACCOUNTS REALLY FOR THE FACT THAT SO MANY YOUNG PEOPLE ARE DOMINATING THE MOVIE PREFERENCES OF AMERICA. NOW, ALTHOUGH WE HAVE BEEN ARGUING THAT THE SEXUAL WORLD CHANGES IN HOLLYWOOD ARE ONLY SUPERFICIAL, THE SUPERFICIAL ONES ARE OFTEN QUITE ENTERTAINING. WOMEN IN THE MOVIES TODAY, ESPECIALLY AT THE BEGINNINGS OF PICTURES ARE MUCH MORE FORWARD ABOUT SEX THAN THEY HAVE EVER BEEN AS THIS GROUP OF SCENES FROM RECENT FILMS REVEALS.

>> I THINK YOU ARE A TURN ON.
I WANT YOU.
>> WHAT?
>> I NEED YOU.
>> DO YOU 
>> DO I OFTEN ASK STRANGE MEN TO LUNCH?
NO, I DO NOT, BUT IT'S NOT OFTEN THAT A STRANGE MAN TURNS ME ON OR A STRANGE WOMAN.
>> THERE'S A BOTTLE OF CHAMPAGNE AND I WON'T TAKE NO FOR AN ANSWER.
>> A DRINK?
>> SURE, I DRINK BUT I THOUGHT WE WOULD GO TO MY PLACE AND GO TO BED.
>> I WILL TELL YOU WHAT, HOW ABOUT I JUST GO HOME WITH YOU AND WE GO TO BED TOGETHER?
>> WE CAN DO THAT.
SURE.

Gene Siskel:
NOW JUST TO MAKE THE POINT ONE MORE TIME, WHEN YOU SEE THOSE KIND OF SEXUALLY AGGRESSIVE WOMEN IN THE MOVIES, DON'T BE FOOLED.

Roger Ebert:
RIGHT, BECAUSE AS WE SAID ALL THROUGH THE SHOW, CHANCES ARE THEY WILL MARRY THE GUY AND LIVE HAPPILY EVER AFTER AND THAT'S IT FOR THIS WEEK.

Christy Lemire:
YOU CAN SEE HOW THINGS HAVE CHANGED JUST THIS YEAR ALONE WITH NO STRINGS ATTACHED AND FRIENDS WITH BENEFITS COMING OUT WITHIN ABOUT SIX MONTHS OF EACH OTHER. THEY ARE ESSENTIALLY THE SAME FILM WITH A GUY AND GIRL HAVING A STRICTLY PHYSICAL RELATIONSHIP AND IN ONE OF THEM, THE WOMAN INITIATES IT AND THEY ARE ALL ON THE SAME PAGE ABOUT IT.

Ignatiy Vishnevetsky:
I REALLY DON'T KNOW WHAT YOU ARE TALKING ABOUT, BECAUSE I DON'T THINK ANY  THERE'S ANY FILMS IN THE 2000s THAT EXPLORES WHAT WOMEN ARE EXPECTED TO DO ANY BETTER THAN SAY A FILM FROM THE 1950s. I THINK IT'S PRETTY MUCH REMAINED THE SAME. I DON'T THINK THERE ARE BETTER ROLES FOR WOMEN.

Christy Lemire:
THE FEMALE SUPERHEROES, WHERE THEY ARE EQUAL TO MEN.

Ignatiy Vishnevetsky:
THE WAY THAT STUDIOS ARE ABLE TO PROMOTE AND BRAND FILMS HAS CHANGED.
YOU CAN HAVE AN ACTION WOMAN CARRIED BY A WOMAN BUT YOU DON'T FIND CHARACTERS THAT ARE ANY MORE COMPLEX THAN THOSE IN THE '40s AND '50s. YOU DON'T FIND THEM MORE COMPLEX THAN BARBARA STANWYCK IN "40 GUNS."

Christy Lemire:
BUT THEN YOU HAVE MICHELE WILLIAMS IN A WESTERN WHERE SHE'S TRYING TO FIND THE TRUTH AND RUNS THINGS.

Ignatiy Vishnevetsky:
SO DOES BARBARA STANWYCK IN "40 GUNS." NOTHING HAS CHANGED. THEY ARE MORE ROLES NOT NECESSARILY BETTER ROLES.

Christy Lemire:
JOIN US NEXT WEEK FOR ANOTHER SPECIAL LOOK BACK OF SNEAK PREVIEWS. YOU CAN FOLLOW THE DISCUSSION ON FACEBOOK AND TWITTER. UNTIL THEN, THE BALCONY IS CLOSED.

Ignatiy Vishnevetsky:
FOR MORE REVIEWS AND MORE FROM ROGER'S OFFICE, VISIT OUR WEB SITE AT EBERTPRESENTS.COM.