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Keira Knightley, Sex Scenes and the Male Gaze

Estimated Reading Time: 3 minutes 47 seconds

Keira Knightley, best known for her roles in Bend it Like Beckham, Atonement, Pride and Prejudice, The Imitation Game and the Pirates of the Caribbean franchise, has made headlines by declaring that she has ruled out doing sex scenes directed by men and that she disapproves of the “male gaze” in cinema.

The two-time Oscar nominated actress told the director Lulu Wang on the Chanel Connects Podcast, “I don't have an absolute ban [on filming nude scenes], but I kind of do with men….It's partly vanity and also it's the male gaze".

The “male gaze” in filmmaking is defined by feminist theory as the act of telling a story and depicting women from a masculine, heterosexual perspective for the pleasure of a heterosexual male viewer.

Knightley certainly has the right to not do anything she doesn’t want to do, but her blanket dismissal of male directors due to some supposed insidious “male gaze” is laughably ironic as one of the main reasons she became a big movie star is because she is so appealing to the “male gaze”.

Knightley has been very successful starring in films, mostly directed by men, that heightened her appeal, fed her vanity and maintained her dignity while not exploiting her in any way. This is what makes her newfound distaste for the male gaze, and male directors, so absurd.

It also makes her anti-male discrimination problematic when viewed in the wider context. Stripped of its self-reverential pro-feminist edifice, Knightley’s statement is an endorsement of blatant discrimination simply based on a director’s gender.

Would Knightley refuse to work with a master like Ridley Scott, who has made such great female empowerment movies as Alien and Thelma and Louise, simply because he was a man and the role required a sex scene or nudity?

Would Knightley refuse to work with other genius auteurs like Paul Thomas Anderson, Steve McQueen or Alfonso Cuaron for the same reason?

Knightley further buttressed her gender-based discrimination stance by saying, "If I was making a story that was about that journey of motherhood and body [acceptance], I feel like, I'm sorry, but that would have to be with a female film-maker".

Imagine if this gender based litmus test were reversed and actors refused to work with female directors on more masculine projects like war films or male driven stories.

According to Knightley’s myopic artistic worldview, Kathryn Bigelow, who won the Best Director Oscar in 2009 for her film The Hurt Locker, which tells the story of a man defusing bombs in the Iraq War, shouldn’t have directed that male-driven movie.

Knightley further explained her refusal to do a nude scene with a male director, “Because I'm too vain, and the body has had two children now, and I'd just rather not stand in front of a group of men naked."

What makes Knightley’s anti-male director diatribe all the more absurd is the fact that the issue of on-set and on-screen nudity and sex scenes has been well examined in recent years to the point where having to “stand in front of a group of men naked” would never happen.

A year ago the Screen Actors Guild published strict guidelines, standards and protocols that regulated sex scenes and nudity and required the use of professional “intimacy coordinators” on-set.

Intimacy coordinators are tasked with making sure all sets where nudity or sex scenes occur are closed – meaning that only the bare essentials (no pun intended) in terms of crew are allowed on-set and absolutely no one else. They also oversee rehearsals and confirming that all nudity and sex scenes included in the final cut of the film conform to what was agreed upon by the actors before hand.

Maybe Knightley is unaware of all of the new precautions and protocols in place regarding on-set nudity since she has had a “no nudity” clause added to her contracts since 2015, but even before then she wasn’t exactly known for doing a great deal of nudity anyway.

This is why her statements on the subject ring so hollow and feel so performative in nature. It is also striking that whenever Knightley mentions her vanity she quickly follows it up by tilting at the windmill of men or the male gaze in order to distract from her own shortcomings and play the victim/hero to an external imaginary villain.

In reality, Knightley’s anti-male director stance is quite nefarious, as it reinforces a worldview that puts the noose of identity politics around the neck of every artistic endeavor. This identity-based approach limits artists instead of empowering them, and ultimately will end up suffocating the creative process and any worthwhile art in the cradle.

Art should always and every time be a function of talent, skill, craftsmanship and passion…not identity. This talent-based approach allowed Leo Tolstoy to write Anna Karenina, straight actor Philip Seymour Hoffman to brilliantly play gay writer Truman Capote, Kathryn Bigelow to make The Hurt Locker and a pasty white Englishman like Eric Clapton to play blues music invented by black men.

The identity politics fueled, gender-restrictive, artistic limitations that Keira Knightly is so shamelessly advocating should be anathema to any true artist, and her embrace of them ironically exposes her as nothing more than a vain and vacuous movie star and an utter fraud as an artist.

 A version of this article was originally published at RT.

©2021

The Imitation Game: A Review

****THIS REVIEW CONTAINS SPOILERS!!! THIS IS YOUR OFFICIAL SPOILER ALERT!!****

The Imitation Game, directed by Morten Tyldum with screenplay by Graham Moore (based on Andrew Hodges book "Alan Turing: The Enigma"), is the story of Alan Turing, a British mathematician who, during world war two, broke the Nazi's secret enigma code which was a major key in the allies winning the war. Adding to the drama of the story is the fact that Turing is a closeted homosexual at a time when homosexuals were persecuted and prosecuted for their sexual orientation.

Benedict Cumberbatch plays the socially inept yet mathematically brilliant Turing. His work here, as always, is consistently solid. Cumberbatch is a very skilled actor, and his portrayal of Turing is finely crafted. Cumberbatch has the very unique ability as an actor, and it is put to good use here, to keep the audience at arm's length yet tantalize them with just enough intimate glances into his character's soul to keep viewers intrigued. His Turing is off-putting yet magnetic, which keeps us rooting for him even when he isn't all that likable. 

Keira Knightley as Turing's co-worker and fiancé, Joan Clarke, is very good in a, not surprisingly, under written role. Clarke's relationship with Turing could have been a goldmine of dramatic intrigue, yet it is never really fleshed out in any meaningful way, which is a disappointment. Knightley has the ability to light up any screen on which she appears, and this film could have used much more of her rather than less.

Mark Strong is one of my favorite actors, and he does his usual superb work as Maj. Gen. Stewart Menzies. I also thought Charles Dance as Commander Alistair Denniston was very good. The Brits can really churn out quality actors, and both Dance and Strong are without question living proof of that. (Speaking of Britishness, this film is so thoroughly and distinctly 'British' that my teeth went crooked watching it!!) As for the other supporting actors, though, they were not as strong, and better performances from them would have lifted the film a bit. 

The most conspicuous thing about this film is that it is painfully 'safe', and it's glaring timidity. It is timid and safe in story, dramatically and in it's direction. The film makes the easy commercial choice in narrative, but dramatically, they bury the lede. We know the allies win the war, what we don't know is what happened to Alan Turing and why. In a postscript, the film tells us Alan Turing committed suicide a year after court ordered chemical castration due to a conviction for a homosexual encounter. It is blatantly obvious to me that the film should have started where it ended. That last year of Turing's life is infinitely more important in terms of drama than all the years he spent cracking the Nazi code. I think the 2009 film A Single Man, starring Colin Firth as a gay man contemplating suicide in 1962, is a great example of what The Imitation Game could have been. The intimacy of that portrait in A Single Man, was astounding, as was Firth's performance. I felt that excruciating intimacy was what was missing from The Imitation Game. One can only imagine how agonizing the final year, never mind the final day, of a man as tormented and tortured as Alan Turing could have been. The choice to simply make his suicide a few sentences written on the screen after the movie is over is incomprehensible dramatically, and feels terribly cold-hearted and obtuse. 

I think a wiser choice for a film about Alan Turing would be to start the story with Turing already deep into the Enigma code breaking process, and then we see him succeed and 'win the war'. But then we transition to how his country repaid him for his genius by persecuting him for his sexuality, and then harassed and finally crucified him. Add into this mix his complex and conflicted relationship with Knightley's Clarke, and you have the recipe for a really compelling film with forceful performances from both Cumberbatch and Knightley, who are unquestionably up to task. 

Returning once again to the great Colin Firth, the film that The Imitation Game has been most compared to is the one Firth won a Best Actor Oscar for,  The King's Speech from 2010, which also won the Best Picture, Best Director and Best Screenplay Oscar . I understand the comparisons, both are set around the same time period, both are exceedingly mainstream, and both are strikingly British.  The King's Speech is a fine film, not great, but well made and I very much enjoyed it, particularly the acting. The Imitation Game is nowhere near the film The King's Speech is, and neither are the performances, of that there can be no doubt. The comparisons to The King's Speech do The Imitation Game no favors.

In conclusion, The Imitation Game is an achingly safe and straight forward Hollywood film, even though it is unquestionably British. The heroic, yet tragic story of Alan Turing is one that deserved considerably more bravery from the people making it. Solid performances aside, the film fails to live up to the life of the man it is made about, and that is a shame.

© 2015

FOR REVIEWS OF OTHER FILMS RELEASED DURING THE HOLIDAY SEASON, PLEASE CLICK ON THESE LINKS TO THE THEORY OF EVERYTHING , WHIPLASH , BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) , FOXCATCHER , WILD , AMERICAN SNIPER , A MOST VIOLENT YEAR , NIGHTCRAWLER , STILL ALICE , INHERENT VICE , SELMA , MR. TURNER , CAKE .