Buried Treasures: Bound

Lana and Lilly Wachowski are most known for the “Matrix” franchise of science-fiction action flicks, but my favorite Wachowski film is still their first — the tragically underseen neo-noir thriller “Bound.” Although a hit at film festivals, “Bound” showed for all of three weeks in the United States. In the grand scheme of things, it served to put the Wachowskis on the proverbial motion-picture map as young, talented directors. But “Bound” succeeds on so many levels, it’s worthy of a second (and even a third) look.

Jennifer Tilly (known previously for playing ditzy airheads) takes her stock character to a whole new level as Violet, the girlfriend of a mafia operative played by the intense Joe Pantoliano. Needing to escape the high-powered, dangerous world of the mob, Violet strikes up a friendship with the new handyman in her apartment complex — a recently-released prisoner named Corky, a tomboy played by the beautiful Gina Gershon. Violet and Corky soon fall in love, and share one of the most romantic sex scenes ever filmed.

Utilizing Corky’s “skills” and Violet’s surprisingly strong inner drive to change her life circumstance, the two women plot a scheme to steal $2 million of laundered mafia money. And this is the point where you’d expect me to write, “ …and then things start to go wrong.” This time, you’d still be correct, but only to a degree. Were their plan to succeed flawlessly, there would be no story. So yes, complications arise, but these are two smart women. And by the final reel, we’re sitting on the edges of our seats.

As I mentioned, “Bound” works on many levels. One is the hard-boiled mafia story. “Bound” is as tough and gritty as any Martin Scorsese mob flick, and equally as violent. The scene where two thugs torture a third in Violet’s bathroom is as frightening as anything Scorsese has thrown at us over the years — coupled with the comic touch Quentin Tarantino would have applied to such a scene. It’s no wonder Violet wants out of her present relationship, and in a way, the level of violence is required for us to completely understand her situation. She’s not some piece of eye candy for a family don. Instead her mere existence is deeply embedded in a lifestyle she finds repulsive.

“Bound” also happens to be the first film to treat a lesbian relationship with the honor and dignity it deserves. Yes, Violet and Corky fall in love quickly. But remember, Corky has been behind bars for a while. And Violet obviously does not love her felonious boyfriend. What I love most about their relationship is that the fact they are lesbians has nothing to do with the story. Had Corky been a man, “Bound” would still be a taut, well-written thriller — albeit more conventional.

Furthermore, “Bound” speaks to the empowerment of women without portraying its heroines as feminists. Violet and Corky would be no more likely to burn their bras on the steps of the Supreme Court as my wife would; yet they are the two smartest characters in the entire film. I love how the Wachowskis depict Violet as practically subservient to her boyfriend, Caesar. Granted, she certainly doesn’t want to upset him (for obvious reasons; he’s in the mob and he’s a hothead), but she speaks differently around him than she does to Corky. In the presence of men (particularly Caesar), Tilly employs that breathy, high-pitched whine for which she’s known. It’s as though she feels uncomfortable exposing her true mental capacity to those who believe she’s capricious anyway. When speaking to Corky, her voice lowers, and her intelligence shines in a very natural way. She reminds me a bit of Melanie Griffith in “Working Girl,” but less comical.

Likewise, Violet feels the need to wear a dress around Caesar and his buddies, yet she downsizes into her jeans when relaxing with Corky. It’s an astute depiction of a woman whose intelligence is suppressed not only by the men she knows but by societal norms. A college-level sociology class could spend a week discussing “Bound” (provided they didn’t mind the violence).

Tilly describes Violet as her favorite role she’s ever played. It’s mine, too. With as large a body of work as she’s produced, she’s never been better. Pantoliano also describes Caesar as his favorite role. Again, he’s been a top character actor for years, and “Bound” is his pinnacle. This is also Gershon’s meatiest role, and she pulls it off flawlessly.

As for the Wachowskis (who not only directed “Bound,” but also wrote the screenplay), they were Larry and Andy Wachowski in 1996. Each has since transgendered during the intervening years. In a way, the Wachowskis were the perfect siblings to bring this story to the big screen (on a shoestring budget, I might add). Scorsese could have handled the criminal elements of “Bound.” Tarantino could have mastered the grave humor. The Coen Brothers could have given “Bound” its sultry film-noir ambiance. But only the Wachowskis were perceptive enough about gender-specific sexuality (at least back in the 1990s) to give “Bound” its essential angle. Again, the relationship doesn’t have to be same-sex. But the fact that it is makes “Bound” a minor classic.

This film was way ahead of its time. Were Universal Pictures (who gobbled up original distributor Gramercy pictures in 1999) to re-release “Bound” today, my prediction is it would last a heckuva lot longer than three weeks at the local cineplex. “Bound” is a gritty, explosive story, with a meaty subtext about female sexuality. And it was my favorite picture of 1996 — ahead of “Sling Blade,” “Trainspotting,” and “Fargo.” That’s why it’s this month’s Buried Treasure.

Andy Ray's reviews of current films appear on http://www.artschannelindy.com/