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.By the end of the Wlm, Corkyagrees with Violet that she doesn t know the difference between them.Their sameness, as Violet suggests, is that they make choices and thatthey pay for those choices.Both women have served Wve-year sentences:Corky in prison and Violet with Caesar.Both of them paid for choicesthey made, because it was easy and they are were good at it.But nowViolet wants to make a different choice.She says that she wants out. She wants out of her restricted, controlled life with Caesar.She wants out. Although the Wlm opens with Corky in the closet, Violet is theone who needs to be liberated from the closet. Violet s insistence that we make our own choices and pay our ownprices, referring back to Corky s own choice, takes on a deeper meaningin relation to a scene that appears in the screenplay but was cut from theWlm.In the Wlm, after the sex scene, Corky confesses that she servedtime for the redistribution of wealth. Violet reassures her that shedidn t need to tell her this, and Corky replies with added intimacy that 196 MAKE IT REALshe wanted to. Apart from the redistribution of wealth that they areabout to plan, the redistribution of wealth hardly seems like an intimateor surprising revelation, at least not something that Violet would insistCorky didn t need to reveal.In the screenplay, Violet s insistence andthe intimacy of Corky s confession make more sense because Corky notonly reveals her crime but also her motives and the childhood despera-tion that led her to steal:CORKY: I started stealing when I was little.We were piss-poor, which isnot an excuse, just a fact.It isn t like her to talk about this, especially with someone she just met.CORKY: The Wrst time I remember so vividly.A bunch of us kids were atWaxman s Drugstore, when Mr.Waxman, who was a mean old prick,always worrying about us robbing him, dropped a roll of quarters.We can almost hear the coins tinkling on the tile Xoor.CORKY: I can still hear that sound, those quarters, because right thensomething clicked inside of me.Some instinct took over and as every-one, including Waxman, dove down, I reached up and emptied the cashregister.Violet smiles.She likes this woman.CORKY: I gave most of the money to my mom.I told her I found it at thetrainyard.She was so happy she cried, calling me her lucky charm.Fifteenyears later, I guess my luck ran out.She swallows that with beer.CORKY: Sometimes I tell myself that I didn t have a choice, that stealingwas surviving.Usually I can admit that s bullshit.I did it because it was away out.It was easy and I was good at it, real good.She glances at Violet.CORKY: I don t usually talk this much.I guess I have been rehabilitated. MAKE IT REAL 197Violet laughs.VIOLET: You didn t have to tell me if you didn t want to.CORKY: I guess I wanted to.VIOLET: I m glad you did.CORKY: So am I.7It is striking that in this scene Corky talks about her mother.Itis even more striking that this scene was cut from the Wlm.As we haveargued in other chapters, the mother is missing from Wlm noir.She isoften the purloined presence that motivates both the detective and thecriminals.In Bound, apparently the mother is left on the cutting-roomXoor.Father Wgures, on the other hand, abound.Indeed, Corky becomesa father Wgure for Violet when Violet compares Corky to her father,who could Wx anything with his magic hands.Violet continually assertsher knowledge of Corky by second-guessing her and saying, Of course, as if she already knew what Corky would answer.The Wlm suggeststhat Violet s knowledge of Corky is based on her knowledge of her ownfather.More than any of the men in the Wlm, Corky becomes a fathersubstitute for Violet.Conversely, the MaWa, the quintessential patri-archy, gives us a godfather-type father Wgure, Gino Marzonni (RichardSaraWan).In relation to this arche father, his real son Johnny and Caesarcompete for the father s respect.This father expects absolute obedienceand wields absolute power.From this perspective, Caesar deWes thisfather and commits patricide when he shoots Gino at point-blank range.Corky and Violet defy the MaWa and thereby subvert this most patri-archal of all families.Corky becomes the creative, productive, potentsymbolic father substitute who can Wx things, while the MaWa men arereduced to destructive impotent fathers/brothers whose mistrust of eachother destroys them.While Corky is a father substitute who subverts thepatriarchy by impertinently adding her sexual difference to it, Caesar isan illegitimate son and half brother who unsuccessfully tries to usurppatriarchal power by killing Wgures of legitimate patriarchal authoritywhom he fears and resents. 198 MAKE IT REALIn Bound, the patriarchal nuclear family is replaced with the patri-archal MaWa family, alternatively referred to in the Wlm as the business or the family. Caesar welcomes Corky to the family when he Wrst meetsher.Gino reminds his sons that they are part of the same family.Thisfamily, however, is dominated by the father and completely devoid ofmothers.The only woman with whom any of the MaWa men have rela-tions is Violet.Combining maternal care and sexuality, Violet bringscoffee to Corky as an overture to seduction.And when Caesar has beenworking all night washing, ironing, and counting the money, Violethands him a drink, calling him a poor boy just before he grabs her andkisses her.Later Caesar explains to Micky that he didn t answer thephone because Violet was helping him relax, giving Violet s sexualitya maternal, caring quality.While unlike traditional femme fatale char-acters Violet combines sexuality and maternal qualities without payingfor it in the end, ultimately in relation to the mob she is more like ahelpless little girl than a mother.Micky ( John P.Ryan), Caesar s boss,is especially protective of Violet.While it is obvious that like all theother mobsters he desires her, Micky protects her from their violenceby telling her to leave the apartment when they are torturing Shelly.And when Caesar discovers that Violet has betrayed him, Violet callsMicky to protect her.For all of its neo-noir twists and gender bending, Bound continuesto repress the mother and her power.Even as it liberates the femmefatale from the stereotypes of noir and opens up the possibility of les-bian sexuality and desiring women, the Wlm still represses the power ofthe mother or her life-giving yet sexual body.In Bound, the patriarchalpower of the MaWa seems to be founded on some primary matricide thatleaves the male hierarchy free from the threat of women.Without anymaternal Wgurehead, the MaWa men are free to compete with each otherover the place and power of the father.Without the mother, the father splace of authority is unchallenged in relation to his sons. The fatherdemands their unqualiWed loyalty and devotion.The repressed feminine/maternal power returns with a vengeance, however, through Violet andCorky, who manipulate the competition between sons to fuel their MAKE IT REAL 199desires and usurp the paternal authority by killing the son after he haskilled the father.In the end, Violet shoots her poor boy Caesar, whofalls in disbelief that his sweet and innocent Violet is capable of suchcold-blooded murder.The sexy maternal Wgure kills the prodigal son tofree herself from the restrictive economy of patriarchy.This return of repressed maternal desire and sexuality shows upmore explicitly in two other neo-noir Wlms, David Lynch s Blue Velvet(1986) and Stephen Frear s The Grifters (1990) [ Pobierz całość w formacie PDF ]
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.By the end of the Wlm, Corkyagrees with Violet that she doesn t know the difference between them.Their sameness, as Violet suggests, is that they make choices and thatthey pay for those choices.Both women have served Wve-year sentences:Corky in prison and Violet with Caesar.Both of them paid for choicesthey made, because it was easy and they are were good at it.But nowViolet wants to make a different choice.She says that she wants out. She wants out of her restricted, controlled life with Caesar.She wants out. Although the Wlm opens with Corky in the closet, Violet is theone who needs to be liberated from the closet. Violet s insistence that we make our own choices and pay our ownprices, referring back to Corky s own choice, takes on a deeper meaningin relation to a scene that appears in the screenplay but was cut from theWlm.In the Wlm, after the sex scene, Corky confesses that she servedtime for the redistribution of wealth. Violet reassures her that shedidn t need to tell her this, and Corky replies with added intimacy that 196 MAKE IT REALshe wanted to. Apart from the redistribution of wealth that they areabout to plan, the redistribution of wealth hardly seems like an intimateor surprising revelation, at least not something that Violet would insistCorky didn t need to reveal.In the screenplay, Violet s insistence andthe intimacy of Corky s confession make more sense because Corky notonly reveals her crime but also her motives and the childhood despera-tion that led her to steal:CORKY: I started stealing when I was little.We were piss-poor, which isnot an excuse, just a fact.It isn t like her to talk about this, especially with someone she just met.CORKY: The Wrst time I remember so vividly.A bunch of us kids were atWaxman s Drugstore, when Mr.Waxman, who was a mean old prick,always worrying about us robbing him, dropped a roll of quarters.We can almost hear the coins tinkling on the tile Xoor.CORKY: I can still hear that sound, those quarters, because right thensomething clicked inside of me.Some instinct took over and as every-one, including Waxman, dove down, I reached up and emptied the cashregister.Violet smiles.She likes this woman.CORKY: I gave most of the money to my mom.I told her I found it at thetrainyard.She was so happy she cried, calling me her lucky charm.Fifteenyears later, I guess my luck ran out.She swallows that with beer.CORKY: Sometimes I tell myself that I didn t have a choice, that stealingwas surviving.Usually I can admit that s bullshit.I did it because it was away out.It was easy and I was good at it, real good.She glances at Violet.CORKY: I don t usually talk this much.I guess I have been rehabilitated. MAKE IT REAL 197Violet laughs.VIOLET: You didn t have to tell me if you didn t want to.CORKY: I guess I wanted to.VIOLET: I m glad you did.CORKY: So am I.7It is striking that in this scene Corky talks about her mother.Itis even more striking that this scene was cut from the Wlm.As we haveargued in other chapters, the mother is missing from Wlm noir.She isoften the purloined presence that motivates both the detective and thecriminals.In Bound, apparently the mother is left on the cutting-roomXoor.Father Wgures, on the other hand, abound.Indeed, Corky becomesa father Wgure for Violet when Violet compares Corky to her father,who could Wx anything with his magic hands.Violet continually assertsher knowledge of Corky by second-guessing her and saying, Of course, as if she already knew what Corky would answer.The Wlm suggeststhat Violet s knowledge of Corky is based on her knowledge of her ownfather.More than any of the men in the Wlm, Corky becomes a fathersubstitute for Violet.Conversely, the MaWa, the quintessential patri-archy, gives us a godfather-type father Wgure, Gino Marzonni (RichardSaraWan).In relation to this arche father, his real son Johnny and Caesarcompete for the father s respect.This father expects absolute obedienceand wields absolute power.From this perspective, Caesar deWes thisfather and commits patricide when he shoots Gino at point-blank range.Corky and Violet defy the MaWa and thereby subvert this most patri-archal of all families.Corky becomes the creative, productive, potentsymbolic father substitute who can Wx things, while the MaWa men arereduced to destructive impotent fathers/brothers whose mistrust of eachother destroys them.While Corky is a father substitute who subverts thepatriarchy by impertinently adding her sexual difference to it, Caesar isan illegitimate son and half brother who unsuccessfully tries to usurppatriarchal power by killing Wgures of legitimate patriarchal authoritywhom he fears and resents. 198 MAKE IT REALIn Bound, the patriarchal nuclear family is replaced with the patri-archal MaWa family, alternatively referred to in the Wlm as the business or the family. Caesar welcomes Corky to the family when he Wrst meetsher.Gino reminds his sons that they are part of the same family.Thisfamily, however, is dominated by the father and completely devoid ofmothers.The only woman with whom any of the MaWa men have rela-tions is Violet.Combining maternal care and sexuality, Violet bringscoffee to Corky as an overture to seduction.And when Caesar has beenworking all night washing, ironing, and counting the money, Violethands him a drink, calling him a poor boy just before he grabs her andkisses her.Later Caesar explains to Micky that he didn t answer thephone because Violet was helping him relax, giving Violet s sexualitya maternal, caring quality.While unlike traditional femme fatale char-acters Violet combines sexuality and maternal qualities without payingfor it in the end, ultimately in relation to the mob she is more like ahelpless little girl than a mother.Micky ( John P.Ryan), Caesar s boss,is especially protective of Violet.While it is obvious that like all theother mobsters he desires her, Micky protects her from their violenceby telling her to leave the apartment when they are torturing Shelly.And when Caesar discovers that Violet has betrayed him, Violet callsMicky to protect her.For all of its neo-noir twists and gender bending, Bound continuesto repress the mother and her power.Even as it liberates the femmefatale from the stereotypes of noir and opens up the possibility of les-bian sexuality and desiring women, the Wlm still represses the power ofthe mother or her life-giving yet sexual body.In Bound, the patriarchalpower of the MaWa seems to be founded on some primary matricide thatleaves the male hierarchy free from the threat of women.Without anymaternal Wgurehead, the MaWa men are free to compete with each otherover the place and power of the father.Without the mother, the father splace of authority is unchallenged in relation to his sons. The fatherdemands their unqualiWed loyalty and devotion.The repressed feminine/maternal power returns with a vengeance, however, through Violet andCorky, who manipulate the competition between sons to fuel their MAKE IT REAL 199desires and usurp the paternal authority by killing the son after he haskilled the father.In the end, Violet shoots her poor boy Caesar, whofalls in disbelief that his sweet and innocent Violet is capable of suchcold-blooded murder.The sexy maternal Wgure kills the prodigal son tofree herself from the restrictive economy of patriarchy.This return of repressed maternal desire and sexuality shows upmore explicitly in two other neo-noir Wlms, David Lynch s Blue Velvet(1986) and Stephen Frear s The Grifters (1990) [ Pobierz całość w formacie PDF ]