Dances of deception to sensual strategies, suggest your songs from the viewpoint of pursuer or pursued in this sexy topic
Some people go straight for it. Was that cannon fire, or is it my heart pounding? said Ingrid Bergman to Humphrey Bogart in Casablanca (1942). Bang on, Bergman. I dont bite, you know unless its called for, said a rather nippy Audrey Hepburn to Cary Grant in Charade (1963). But the approach by Albert Brooks to Holly Hunter in Broadcast News (1987) is perhaps the most interesting: I would give anything if you were two people, so I could call up the one who is my friend and tell her about the one I like so much.
There is something about Brookss attempt at seduction that appeals. It takes a bold step forward, but then steps back to create a tempting space into which the other person might make their move. Such are the steps of seductions dance. It also captures the essence of the seduction game how duplicity and honesty seem to go hand in hand, and how those involved must at least briefly appear to be someone else in order to make the transition from conversation ... to fornication. Its trying to say: Im trying to fool you, but Im telling you too. And thats because seduction is a lot to do with deception. A particularly exquisite exposition of such arts, dark or otherwise, comes in the 1988 film adaptation, Dangerous Liaisons. Here John Malkovich, perhaps at his most masterful, and before he fell into self-parody, proves to be a very naughty boy indeed.
Hi! What time do you have to be back in heaven? People call me [insert name], but you can call me tonight! Someone should call the police, because you just stole my heart! Hey love, this isnt a beer belly, its a fuel tank for a love machine! Is your last name Gillette? Because you are the best a man can get! Youre so beautiful that you made me forget my chat-up line. [And finally, the frankly bizarre attempt at pathos] Would you like to come home with me? I have to wash down my parents.
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by Peter Kimpton via Electronic music | The Guardian
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