Reviewed: The Paperboy

So take off all your clothes.

The Paperboy
dir: Lee Daniels

Pedro Almodóvar spent around a decade trying to make an adaptation of The Paperboy, Pete Dexter’s seamy novel about sex, race and murder in 1960s Florida. The version that is now seeing the light of the day is by the African-American director Lee Daniels. Anyone who saw Daniels’s last film, Precious, may worry that this represents an intolerable downgrading. An announcement that King Lear will be played in tonight’s performance by Michael Barrymore rather than Michael Gambon could be expected to prompt a stampede for refunds. But Daniels turns out to be the ideal director for a film about the tendency of desire to turn sane minds to guacamole.

In Precious, Daniels brought to the story of a sexually abused Brooklyn teenager an inappropriate prurience. But even a stopped clock tells the right time twice a day and Daniels’s overheated style has met its ideal subject in The Paperboy. The spine of the film is a fairly conventional legal drama: a gogetting reporter, Ward Jansen (Matthew Mc- Conaughey), helped by his kid brother Jack (Zac Efron), becomes convinced he can save from death row Hillary Van Wetter (John Cusack), whose conviction for the killing of a sheriff appears to be unsound. But just as none of the characters can be bothered with the murder investigation in Gosford Park, so it becomes apparent that no one in The Paperboy gives a hoot about anything not related to sex. This movie is in heat.

The lightning rod for lust in the picture is Charlotte Bless (Nicole Kidman), a vision in baby-pink dress, vanilla hair and bluebottle eyeshadow; one of those femmes de lettres who deploys her skills writing come-ons to convicted killers. Hillary, a drooling, handcuffed slab of lard with a libido, is the man of Charlotte’s warped dreams. The gag of the scene in which he is wheeled out to meet his advocates, and the joke of the entire film, is that everyone has the hots for everyone else. Charlotte and Hillary are moaning orgasmically throughout what is intended to be a sober briefing. Jack is going gooey at the sight of Charlotte. As for Ward, who’s your average repressed, gay masochist –well, no, that isn’t a root vegetable in his pocket and, yes, he is extraordinarily pleased to see everyone.

A solitary bucket of cold water is provided by the Jansens’ maid, Anita, played by the singer Macy Gray. You’d have to add several hundred extra “e”s to “sleepy” to evoke Gray’s vocal delivery accurately, but it’s just what the movie needs: Anita is the outsider here, not only racially and economically but in her abstinence from the movie’s delirium. It’s right that she should narrate the story in the form of an interview she is giving some years later but it would make even more sense if she didn’t realise she was providing a movie voiceover: “Anyhoo, I think y’all seen enough,” she says, as a sex scene is faded out.

The Paperboy sticks to its guns and shows that no good can come of a life steered by areas of the body other than the heart and mind. But one feels disinclined to take such advice from a director who gets this excited over a shot of Charlotte urinating on Jack. That Jack has been stung by jellyfish, and Charlotte is attempting to alleviate his suffering, does nothing to diminish the episode’s sexual charge. Though at least the scene gives Kidman –who is having the time of her life here – the chance to deliver lines marinated in camp. “If anyone’s gonna piss on him, it’s gonna be me!” she rages at a bunch of sunbathers. “He don’t like strangers peeing on him!”

Nor does the film stint on slavering closeups of Zac Efron: Zac swims, Zac towels off, Zac broods endlessly beneath the canopy of his magnificent eyebrows. Chances are he isn’t mulling over the question: “Does my bum look big in this?” Because it doesn’t. His bum looks amazing in that. When Tom Cruise performed his career-making dance in Risky Business, his underwear was referred to as “tighty-whities”, but he may as well have been Hattie Jacques in her bloomers next to Efron. There. You see how the fever of The Paperboy gets to you? I’ve just written an entire paragraph about Zac Efron’s underpants. And you’ve read it.

Zac Efron and Nicole Kidman in "The Paperboy".

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

This article first appeared in the 18 March 2013 issue of the New Statesman, The German Problem

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Cute or creepy? How romcoms romanticise stalker-like and controlling behaviour

I present to you: a history of Hollywood romance, unromanticised.

This week, a new study was published with findings that suggest romcoms can encourage women to be more tolerant of stalker-like behaviour. I Did It Because I Never Stopped Loving You, a report Julia R Lippman, a professor of Communication Studies at the University of Michigan specialising in gender and media, studied women’s responses to “stalking myths” after watching a series of films of different genres.

Women who watched There’s Something About Mary and Management were more likely to be accepting aggressive romantic pursuit than those who watched films featuring “a scary depiction of persistent pursuit” like Sleeping With the Enemy and Enough – or benign nature documentaries such as March of the Penguins and Winged Migration.

Are we really that surprised? The male-dominated film industry has a long tradition of neutralising and romanticising controlling or harassing behaviour from men, from its beginnings to today. I present to you: a history of Hollywood romance, unromanticised.

It Happened One Night (1934)

Often credited with the birth of the romcom, the story is as follows: a newspaper reporter blackmails a celebrity on the run from her family into speaking to him for a story, threatening to turn her in to her father for reward money if she doesn’t comply with his wishes. After dangling this threat over her head over days, he hunts her down on her wedding day, and accepts slightly less than the agreed reward money from her father, arguing that he did what he did for love, not money. On hearing of this noble deed, our heroine swoons, cancels her wedding, and runs off with the reporter instead.

Seven Brides for Seven Brothers (1954)

A group of brothers kidnap six attractive women by causing a life-threatening avalanche that keeps them imprisoned all winter. The women play pranks on the men in revenge, and, in a shocking case of Stockholm syndrome, everyone has an all-round jolly time. They pair off and are all married by summer.  

Some Like It Hot (1959)

Two men disguise themselves as women to trick a young woman into trusting them. One continues his attempts to seduce her by disguising himself as a billionaire and faking severe psychological traumas to gain her sympathy. They eventually sail into the sunset together.

Breakfast at Tiffany’s (1961)

A man becomes enamoured by a pretty young woman, but is angered by her repeated attempts to marry richer men. He investigates her past relationships, without her permission. When she is abandoned by her fiancé, the man follows the pretty young woman to a New York library, insisting she confess her love for him, telling her, “I love you. You belong to me.” When she tells him “people don’t belong to people” he becomes enraged, lecturing and patronising her. They kiss in the rain.

My Fair Lady (1964)

Two men attempt to assert their control over a pretty young woman: one by promising her the career of her dreams if she promises to change her entire personality according to his strict preferences, one by stalking her, lurking constantly on the street where she lives. She almost marries one, and falls for the other.

The Graduate (1967)

A young man intentionally upsets his ex’s daughter by taking her on a date, where he is horrible to her, and forces her to go to a strip club. He hides his affair with her mother from her, and, when she discovers it and rejects him, follows her across America, spends days on end harassing her, and ruins her wedding. They elope, via the world’s most awkward bus journey.

Back to the Future (1985)

A teenager goes back in time to aid his creepy, peeping Tom father achieve his dream of marrying the woman he watches undress from a tree outside her house.

Say Anything (1989)

A young man wins back the heart of his ex-girlfriend by turning up uninvited at her family’s home and intentionally disturbing them all by holding a boombox aloft, humiliating her by blasting out the song she lost her virginity to.

Pretty Woman (1990)

A man manipulates a sex worker to overhaul her entire personality in order to conform to his idea of womanhood.

Edward Scissorhands (1990)

An outcast becomes obsessed with a popular young woman after staring at her childhood pictures in her family home, watches her from a distance, carves an enormous, angelic statue of her, then murders her boyfriend. They kiss, feet from the boyfriend’s lifeless corpse.

Beauty and the Beast (1991)

A man who knows a young woman is not attracted to him kidnaps her father as a way to lure her into his home. He imprisons her and uses his legion of servants and magical home to manipulate her into falling for her captor, all so he can get a sexy makeover. In a shocking case of Stockholm syndrome, she falls for him.

Something About Mary (1998)

Thirteen years after his advances were first rejected, a man travels all the way from Rhode Island to Florida and pays a private investigator to stalk his childhood crush. He lies to her and everyone who knows her in order to win her affections. When she becomes aware of his deceit, she shrugs it off, as everyone else she knows has been stalking her, too. His excuse? “I did it because I never stopped thinking about you. And if I didn’t find you, I knew that my life would never ever be good again.”

American Beauty (1999)

A young man follows an attractive young woman to her house and videos her getting undressed. She gives in to his advances.

High Fidelity (2000)

A man tracks down every one of his ex-girlfriends to harass them over why they left him. He stalks his most recent ex’s boyfriend, standing outside his house in the pouring rain. She goes back to him.

50 First Dates (2004)

A man discovers an attractive woman’s amnesia leaves her vulnerable, so spends every day trying to manipulate her condition to his advantage. After studying her every move, he engineers “chance meetings”, essentially kidnapping her without her consent by the film’s end.

The Notebook (2004)

A woman falls for a man after he writes several hundred letters to her without receiving any replies, stalks her hometown, and restores an entire house based on the fact they had sex there once.

Love Actually (2004)

A man of enormous privilege and power falls for his secretary, comments on her physical appearance to colleagues, has her fired, turns up on her family doorstep on Christmas Eve, and bundles her into his car. She kisses him.

Also, a sullen young man resents his best friend’s wife for being good-looking, is horrible to her, films her obsessively on her wedding day, then arrives on her doorstep on Christmas eve, threateningly brandishing a picture of what he imagines her decaying corpse will one day look like. She kisses him.

Time Traveller’s Wife (2009)

A man uses his time-travelling powers to groom a pre-teen version of the adult woman he loves into falling for him.

Twilight (2008)

A centuries-old man disguised as a teenager infiltrates a school and becomes obsessed with a teenager, stalking her and watching her sleep, all the while making clear to her that he is “dangerous”. She gives in to his advances.

Also, a violent man pursues a teenage woman long after she has rejected him, usually in a state of semi-nudity.

Management (2008)

A man develops an obsession with a married woman when she checks into the motel where he works. She does not return his affections, so he follows her around the country: first to Maryland, then to Washington State, where she is engaged to a man whose baby she is carrying; then back to Maryland. She eventually gives in to his advances.

Crazy Stupid Love (2011)

A teenage boy stalks his female classmate, sneaking into her room at night to watch her sleep.

Fifty Shades of Grey (2015)

A billionaire uses his money and power to hunt down a student journalist who interviewed him at her place of work. He kidnaps her when she is drunk, and blames her for drinking. He manipulates her with gifts and encourages her to sign away her independence. When she tries to leave him, he follows her 3,000 miles to her mother’s home. She gives in to his advances and he assaults her. 

Anna Leszkiewicz is a pop culture writer at the New Statesman.