Synopsis
Lee Holloway, a submissive, emotionally fragile young woman, has recently discharged from a psychiatric facility after attempting self-harm in Secretary. She is a woman living in her family’s house dominated by a mother who dictates every aspect of her life, while her father drinks himself into a stupor. She attempts to rejoin social life after taking a typing class and try finding a job.
Her most recent employment opportunity is as a secretary to E. Edward Grey, a reclusive and eccentric attorney who runs is own small office. Grey is emotionally removed, exacting, and requires a great degree of order and detail. He softened a little while explaining what the job entailed, telling her it is repetitive in nature and has a high turnover of assistants.
Initially, their interactions are completely businesslike, but before long, they shift in an unconventional manner. Grey becomes more aware of her passive and self punishing tendencies and instead of growing worried, develops a morbid curiosity. After catching her with self-inflicted wounds, he sternly states “No more,” asserting that he forbids her from harming herself. Because of the unique nature of the bond they are sharing, Grey increasingly resorts to punishing her for small clerical errors that he spanking her. To his shock, Lee becomes aroused both emotionally and physically by the self dominated submission.
In their workplace setting, their relationship develops into a consensual, dominant-submissive dynamic, with Grey becoming the dominant partner and Lee, the submissive one. Lee emotionally develops under this arrangement, finally feeling a sense of stability, attention, and self-worth. This leads to her self-harming behaviors stopping and her becoming more confident in her life and career.
While this is happening, Lee is attempting to keep a more normative social relationship with her boyfriend, Peter. However, their relationship lacks emotional or sexual satisfaction. As her feelings for Grey deepen, Lee finds herself torn between societal expectations and her true self.
The climax occurs when Grey, feeling threatened by his affection for Lee and disturbed by how connected they seem to be, decides to fire her. Lee, heartbroken, but not crushed, resolves to fully embrace her engagement with Peter. During the wedding preparations, she realizes that suppression is not an option. She escapes the wedding venue, still dressed in her gown, and rushes back to Grey’s office.
She sits in his chair and proclaims to him that she is prepared to completely submit to him. Grey, who is both frightened and overwhelmed, now must do battle with his own fears in the form of his dominant persona over her whilst instructing her to stay seated and not move until he comes back. This is a form of loyalty and resolve. As a test of loyalty, she languishes for days, enduring a hunger strike while being mocked by truly concerned family and onlookers. At long last, Grey returns, and after lovingly attending to her in the ritual of bathing, embracing her, they finally acknowledging the love and understanding that exists between them.
The last scene of the film shows Grey and Lee, now a happily married couple, residing in a home that perfectly accommodates and complements their distinctive, yet consensually agreed-upon, power dynamic. “It is not a conventional life, but a life full of love,” is the conclusion Lee provides, beautifully encapsulating their life together.
Cast & Crew
Maggie Gyllenhaal as Lee Holloway. Lee is a deeply vulnerable, yet powerfully transformative character and Maggie Gyllenhaal’s performance reflects Lee’s journey from emotional instability to submission with nuance and depth.
James Spader as E. Edward Grey, a powerful and secretive lawyer, known to weild power as a means of covering deeply rooted personal issues. His repression and domineering tendencies come from a personal struggle, which make his character discover an emotional connection through dominance.
Jeremy Davies as Peter, who is socially awkward, is Lee’s boyfriend.
Lesley Ann Warren and Stephen McHattie play Lee’s parents who are well-meaning but emotionally distant.
Introduction of the Film in the Article
The film was directed by Steven Shainberg, with a screenplay written by Erin Cressida Wilson based on a short story by Mary Gaitskill. Elements such as the music, cinematography, and editing created a distinct atmosphere for the film as dark, intimate, and slightly surreal.
Critical Reception
The film received unquestionable praise for its unique, sensitive, and bold portrayal of a dominant and submissive relationship, circumventing the pre-existing notions of such dynamics. Within the critical and independent circles, the film is regarded for its deep emotional and psychological complexity, alongside its non-judgmental approach to unconventional sexual discourse.
Maggie Gyllenhaal was considered to be one of the highlights of the film, receiving acclaim from a variety of audiences. Her portrayal of Lee marked a pivotal shift in her career, where she was granted multiple “breakthrough” awards from critics. Alongside those, she received nominations for a Golden Globe and an Independent Spirit Award.
With James Spader’s history of eccentric and edgy roles, Spader’s quiet vulnerable take on Grey provided balance to the authoritarian persona with deep emotional repression.
Critics regarded the film and its approach to BDSM to be a non-traditional relationship between two individuals who found fulfillment. The film did not vilify or romanticize BDSM, but rather presented it as a form of love where emotional progress was made. The emphasis of consent surrounding the film has been appreciated widely.
Box Office & Awards
With a production budget of around $4 million, Secretary made approximately $9 million at the box office. While the film didn’t make huge waves, it was well accepted by niche audiences and at film festivals. The film was featured at the Sundance Film Festival and subsequently received multiple accolades for writing, acting, and directing.
The film received accolades in 2002 for the film’s provocative and emotionally daring screenplay. Reviewers praised its fine blend of drama and dark comedy. The film managed to provide some much-needed laughter without stripping the story of the emotional depth.
Themes & Analysis
The key themes in Secretary include identity, emotional healing, and mutual understanding. As for Lee, her journey in the film is not her being “saved” but is about finding a place to emotionally express and understand her needs.
On the other hand, Grey has to confront his fears of intimacy and vulnerability. Rather than being a villain, Grey is a man terrified of the consequences that comes with being known by someone. The film portrays both characters in a way that allows them to undergo transformation and accept their true selves.
Another dominant subject is the concept of consent. Unlike most portrayals of dominant–submissive relationships, Secretary focuses on the need for willing participation, caring, and emotional depth. While the relationship is unconventional, both partners derive profound respect and validation from it.
Aspects such as the office and costumes along with the cinematography reinforce the themes of order and the imposition of limitations and repression. Lee starts the film in conservative, girlish attire, but as she gains confidence, her clothing and body language begin to shift in alignment with her internal renewal.
Conclusion
Secretary is a film that is emotionally bold and intellectually involved, with a work that captures the romance and power in unconventional relationships. It is a work that is deeply personal, illustrating a tender but unconventional love story featuring powerful performances by Maggie Gyllenhaal and James Spader.
The film successfully allows remorse and does not apologize for engaging in critical deep reflection. The film portrays BDSM not as a shocking, fetishistic act but as a sincere means of emotional bonding and, for some of its characters, profound healing. It challenges viewers to rethink love, control, and emotional surrender.
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