Homesex movieHenry & June (1990) Movie Sex & Nudity

Henry & June (1990) Movie Sex & Nudity

In the beginning, Anaïs finds several nude photographs in a closet, there is also a card with an old painting of a woman having sex with an octopus (The Dream of the Fisherman’s Wife).
Anaïs and June kiss several times throughout the film.
There is a film that Anaïs watches with several women kissing each other.
Anaïs and Henry have sex in the back room of a club, there is much heavy breathing and thrusting, but no nudity.
Directly after this scene, it cuts to Anaïs and Hugo having sex very graphically. Afterwards, she lies in bed completely nude.
Anaïs and Henry also make love in an alleyway, they are both clothed though.
Another sex scene with Anaïs and Henry occurs in a hotel room which is also graphic and includes nudity. Afterwards, she gets up and walks to the window, fully nude.
There is a prolonged scene where two nude women dance.
There are many nude women in full body makeup as part of a street festival.
There is another brief sex scene between Anaïs and Hugo, with quick thrusting and moaning.
There is a scene in a brothel where many women in the foreground and backround are completely nude. Hugo and Anaïs enter and pay to see an “exhibition”, which is where they see two women graphically make love, with lots of nudity and moaning. The two women also engage win oral sex with each other. In the end, one of the women has an orgasm.
Anaïs performs oral sex on Hugo in one scene.
There is a dream sequence where Anaïs and another women undress and make love. The camera pans across them having sex in very graphic ways.
There are two women that are briefly shown doing an acrobatic trick nude.
Anaïs surprises Henry while wearing a see-through dress. The two then proceed to make love, which is mostly shown in close up, but is still graphic. Henry’s buttocks are seen in this scene.
While Anaïs and Henry are walking in a garden, she drops her top and they begin kissing. There is a close up of him fondling her breast.
There is a long scene with Anaïs and June in bed together, kissing. Both feel each others breasts.


Film review:Translated by www.rabudo-ru.com


On December 5, 1931, Arnes Ning met Henry Miller and soon brought him and his wife Joan into her sensual world. Whether real or fictional, Ning’s contempt for monogamy again and again frightened her husband Hugo.

Henry Miller (1891-1980), an important writer in the American literary world, has a mixed reputation. His autobiographical trilogy Tropic of cancer, black spring and Tropic of cancer; Martyrdom Trilogy: Journey to * *, web of lust, knot of spring dream, etc.

Joan Mansfield, the second of Henry Miller’s five wives, aroused Henry Miller’s wild and rough desire and his passion for writing.

Anais Nin, daughter of Spanish composer qinning, wife of financier Hugh guiler, lover of writer Henry Miller… The diarv of Anais Nin, also known as Henry, Joan and me, is the creative blueprint of this film.

In Paris, France, in 1931, Henry Miller was engaged in the free writing life of the Tropic of cancer, while Arnes Ning was also writing articles on the analysis of D. H. Lawrence. When the two had a hot spark of love, and then Joan joined, the chaotic and torn love entanglement of the third sex of the three began.

I can’t remember when I first saw Henry & June. It’s just that Kaufman’s film is far less impressive than the unbearable romance of being, or many of it is because I don’t like Henry Miller’s rough and dirty writing about sex.

Paris, Babylon of modern art, the artist reverently worships her tolerant skirt. Under the banner of mysticism, naturalism, nihilism, symbolism, intuitionism, anarchism or surrealism, we do realize that the strong voice of the prosperity of industrial civilization from the western art world, whether in art painting, melody music or literary creation, has completely lost us in the beautiful world of the 1920s and 1930s; List a lot of familiar words: Freud, Dostoevsky, Strindberg, Nietzsche, Rambo, Ramakrishna, Picasso, Lawrence

Because D H Lawrence started

I don’t like the Hong Kong Translation of “love in June”, which is too gorgeous and lacks the connotation it should have; The Taiwanese translation of the third nature is straightforward, but somewhat vague; Let’s just use the literal translation of Henry and Joan.

The first thing that came into view was Ning played by Maria de Medeiros, the big eyes of nothingness, and a stack of ukiyo paintings by Japanese painter Ge Zui Beizhai turned out in the bookcase. His favorite was slowly introduced into Paris, France, in 1931, and then the residence of Louis Vincent in Paris in 1931.

Maria de madeos really looks like Ning, a woman with wide forehead and big eyes, a woman spoiled by words. To some extent, she has many similarities with Virginia Woolf:

First of all: know how to tie money, and literary creation is completely parasitic in her husband’s healthy wallet. Woolf slipped away from the publisher and laid a solid foundation for binding the decadent and mentally retarded moans into a book in the future; Ning gave alms to his lover through the financier’s money bag and became famous by making use of his literature.

Secondly, he is familiar with “playing love”. His husband instills love in every detail of life. Once he crosses the great gap of food and clothing, he begins to release the unprecedented hairy Yin organs, completely separating the true meaning of the so-called “love” from the pursuit of the body;

Thirdly, they pursue idols. They all admire Lawrence, implement Mrs. chateley in Lawrence’s works, and infinitely enlarge it and integrate it into the queue of literary pioneer youth.

Finally: boldly confuse gender. The gay men eulogized by Plato have been sensitively derived to the majority of female groups. They are all shocked, full of spirit and chattering on the paper.

At the end of 1931, Ning planned to write a monograph on D. H. Lawrence. It was also during this period that she met Henry Miller who came to Levinson’s residence, so the chaotic sexual entanglement planted hazy seeds.

the Tropic of Cancer

Henry Miller: all I want from life is a few books, a few dreams and a few women.

Personally, I think director Kaufman has profound artistic cultivation, and his literary temperament affects his film creation in many aspects. His films are just like the Tropic of cancer parallel to the equator, never coincide, but there is no too much deviation. His film works have a high artistic threshold. You can talk about his moldy film topics. You can covet his undisguised sex in the film. You can also point to his specific understanding of the writer’s perspective… Under Kaufman’s extremely powerful film expression, you can only succumb to his stubborn understanding, It is undeniable that his thoughts need you to carefully and repeatedly interpret and rearrange the art fragments he deconstructs.

This film moves forward in strict chronological order.

After meeting Henry for the first time, Ning had a strong interest in the energetic old man and postponed the desire to visit him again.

Henry was born in a German tailoring family in the United States. He basically had no systematic and complete higher education. In his youth, he frequently changed jobs and lived a mediocre life, which did not obliterate his creative desire. When he met Joan, an unknown first-class actor and part-time amateur * woman in New York, he began to be idle and specialized in literary creation at home for more than 40 years.

Ning walked through the streets of Bohemian expatriates with a typewriter in his arms, and was surprised to see the bottom refugees who were engaged in pickpocketing with various skills. Henry mixed in such a crowd, and his farewell was still cold words. Then he couldn’t wait to lead her into the humble bar bread life, borrowed her money and hurried up the attic with the naked girl in his arms.

But in such circumstances, Henry’s talent can’t die. Who can really understand a walker of words, the founder of surrealist avant-garde literature who mocks himself as a “bard of rogue proletarians”, and a prophet of the beat generation in the 1960s.

It is precisely for Henry Miller’s unruly behavior that the great contrast produces great temptation.

Ning was interested in discussing philosophy, writing and his wife Joan, whom Henry had never met, as well as Joan’s homosexual experience in New York described by Henry. The conquest and attraction of words, the breadth and profundity of speech, the leap and solitude of thought… Ignite the desire of “love” and quiet in the reverie between the lines.

Agnes Ning: my painful experience of becoming a woman.

Black spring

Henry Miller tonight, I would like to think of a person, a lonely person, a person without a name, a country, a person I respect, because he has nothing in common with you – this is myself. Tonight I will consider what I am.

Henry Miller had a heated discussion on the narrative style of words, and Ning tried his best to seek Henry’s approval of Lawrence. When Joan “walked from the shadow of the garden into the light of the hall and came to me, I saw the most beautiful woman in the world for the first time in my life.” Three people, three emotions and three natures, “Henry is dim. She is color, light and novelty.”

Everything is natural in the gorgeous night in Paris. Everything has become the only indulgent excuse in the uninhibited French “love”, and everything has melted in the warm eyes of petite women

Lens 1: Henry puts Ning down in the bag Pavilion of the bar and tells Ning in a straight and white language: “you know your nature when you dance…”

Scene 2: Joan and Ning sit in a corner of the gay bar, looking at each other with red French wine,

“I want to get drunk.”

“I also want you to get drunk,” hesitated and said melancholy, “I’m a little afraid of you. Forgive me for everything I said…”

Agnes Ning: no matter what love, I can’t resist. My blood begins to dance and my legs begin to spread.

Tropic of cancer

Henry Miller: because I think I’m the last saint on earth.

Chaotic love, chaotic sex, chaotic love, chaotic sexual entanglement arouse more than ripples in life. When Ning’s self encounters Henry’s other self, dangheng uses his strong sexual desire to conquer Ning in the bed, and women are just the body of Henry’s self.

Henry Miller paralyzed his painful thinking with decadent Freudian parties and confused alcohol; Henry Miller’s strong desire to write the excitement of human contempt and wash all solidified ethics with the stream of consciousness; Henry Miller’s strong desire criticizes the decline of human nature and the hypocrisy and fragility of human nature in front of many temptations of money.

In the sunshine on the left bank, Henry and Ning are playing selflessly in the bridge hole; In the fog of the dark night, Joan tore up Henry’s manuscript, left him and Ning in the gloom of the deserted street, and saw their embrace again with cold eyes… The painful sympathy didn’t know who to fall on.

Agnes Ning: for me, the last afternoon in Miller’s hotel room was like a hot furnace. Before that, I only had white hot mind and imagination, but now I get hot blood and divine perfection.

Sadie and Debussy

Mysterious and gloomy theme. The soundtrack of the whole film seems to be completed under the main melody of the avant-garde in the 1930s. It is precisely the music chapters of sati and Debussy that fit the style of the whole film, and appropriately integrate sati’s music essence after the ups and downs of some plots.

I can’t help but admire Kaufman’s skillful use of interactive art carrier. With Sadie’s coldness as a bystander, I think about human nature in good faith, and the lonely human society moves forward in confusion.

Brassai

If you look carefully, you will find that Kaufman quotes the works of photographer Blaser:

The jeweled woman (1932)

Hooligans among Albert’s members (1932)

……

After Henry, Joan and Ning stood a great supporting role – brase (1899-1984). Brasser was a very good friend of Henry Miller. He came to Paris in 1928 and used his camera to record the life in Paris at night. He aimed the lens at the refugees and decay, leaving the last shadow of human nature in the slums.

In 1932, braseide’s first photo album, Paris night, reproduces the life and state described by Henry Miller in the Tropic of cancer with the romantic style of avant-garde art. In the man in a straw hat, the man with his head down on the bench is Henry Miller.

Kaufman’s large number of lens language in this film is also deeply influenced by brase’s romantic style, so it is particularly commendable both in detail and in the form of expression of the actors.

It is also the lens language from Ning’s main perspective that makes the whole film virtual, real, detailed and simple, quite artistic. It also meets the literary meaning of Arnes Ning’s diary, especially the excellent performance of the three protagonists. It not only completely describes the chaos among writers, but also does not appear vulgar and artificial.

Why does the world use the word “love” to end this article and the melancholy of the 1930s.

I cried this morning

I cried because I loved the street that let me leave Henry

Maybe one day it will bring me back to Henry

I cry because the process of becoming a woman is so painful

I cry to stop crying from now on

Changyou No. 4 hospital: we love you everywhere, hi!!!

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