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DISCLOSURE
When does sexual harassment become assault? Does no really mean no? When does assault become rape? Is submitting to your attacker required if the attacker is your boss? And are any of the answers to these questions altered by the fact that the attacker is female and the victim is male? These questions provide the canvas for a sexy and stylish thriller from 1994 called Disclosure.
Michael Douglas stars as Tom Sanders, an executive at a computer software company who learns he has been passed over for a promotion that went to a former lover named Meredith Johnson (Demi Moore). After Meredith's first day at the firm, she calls Tom to her office for an after hours meeting and forces him to have sex with her. Tom goes home, takes a shower, and says nothing to his wife Susan (Caroline Goodall). Tom arrives at the office the next day and learns that Meredith has gone to their boss (Donald Sutherland) and claimed that he sexually harassed her. Boss Sutherland is in a panic because he's afraid that this scandal will disrupt an upcoming merger for the company that means millions. He tries to manipulate a transfer for Tom, who's not having that and decides that his only option is to sue Meredith and the company for sexual harassment.
This is such a fascinating, little talked about subject that has rarely been addressed in the movies and it really gets an intelligent and balanced look, thanks to a very clever screenplay by Paul Attanasio, based on a novel by Michael Crichton and the meticulous direction of Oscar winner Barry Levinson. The filmmakers really score here by having this story unfold very leisurely...until the fateful confrontation between Tom and Meredith occurs, we have absolutely no idea what this movie is about. And regarding said confrontation, this scene is brilliantly directed, edited, and acted and worth the price of admission alone. There is evidence to support that what begins as sexual assault becomes consensual sex but that is for the individual viewer to determine. It does aggravate that when the trial/mediation proceedings begin, that Tom's sexual past is open to examination but Meredith's is not. Levinson does offer subtle clues as to what's going to happen, but they are so subtle you don't really notice. There is a moment early on where Tom is observed patting his secretary on the ass with a file folder and the camera zooms right in on it and we're not really sure why at that moment, but it definitely comes into play later.
The movie loses steam during the final quarter after the trial ends, but this film is riveting entertainment for most of its running time. Douglas and Moore create a steamy and combative chemistry and Sutherland is appropriately oily as the boss whose loyalties change from scene to scene, not to mention Dylan Baker as his toadie. Goodall also has some strong moments as Tom's wife and Roma Maffia is wonderful as Tom's attorney, but more than anything, this film is a testament to the directorial style of Barry Levinson.
When does sexual harassment become assault? Does no really mean no? When does assault become rape? Is submitting to your attacker required if the attacker is your boss? And are any of the answers to these questions altered by the fact that the attacker is female and the victim is male? These questions provide the canvas for a sexy and stylish thriller from 1994 called Disclosure.
Michael Douglas stars as Tom Sanders, an executive at a computer software company who learns he has been passed over for a promotion that went to a former lover named Meredith Johnson (Demi Moore). After Meredith's first day at the firm, she calls Tom to her office for an after hours meeting and forces him to have sex with her. Tom goes home, takes a shower, and says nothing to his wife Susan (Caroline Goodall). Tom arrives at the office the next day and learns that Meredith has gone to their boss (Donald Sutherland) and claimed that he sexually harassed her. Boss Sutherland is in a panic because he's afraid that this scandal will disrupt an upcoming merger for the company that means millions. He tries to manipulate a transfer for Tom, who's not having that and decides that his only option is to sue Meredith and the company for sexual harassment.
This is such a fascinating, little talked about subject that has rarely been addressed in the movies and it really gets an intelligent and balanced look, thanks to a very clever screenplay by Paul Attanasio, based on a novel by Michael Crichton and the meticulous direction of Oscar winner Barry Levinson. The filmmakers really score here by having this story unfold very leisurely...until the fateful confrontation between Tom and Meredith occurs, we have absolutely no idea what this movie is about. And regarding said confrontation, this scene is brilliantly directed, edited, and acted and worth the price of admission alone. There is evidence to support that what begins as sexual assault becomes consensual sex but that is for the individual viewer to determine. It does aggravate that when the trial/mediation proceedings begin, that Tom's sexual past is open to examination but Meredith's is not. Levinson does offer subtle clues as to what's going to happen, but they are so subtle you don't really notice. There is a moment early on where Tom is observed patting his secretary on the ass with a file folder and the camera zooms right in on it and we're not really sure why at that moment, but it definitely comes into play later.
The movie loses steam during the final quarter after the trial ends, but this film is riveting entertainment for most of its running time. Douglas and Moore create a steamy and combative chemistry and Sutherland is appropriately oily as the boss whose loyalties change from scene to scene, not to mention Dylan Baker as his toadie. Goodall also has some strong moments as Tom's wife and Roma Maffia is wonderful as Tom's attorney, but more than anything, this film is a testament to the directorial style of Barry Levinson.