Monday, October 20, 2008

An image can lie...

I find the film poster to 1985's MISCHIEF one of the most erotic images ever. There is something in the composition of the tableaux that speaks of innocence and joy and hints at dirty secrets. First of all, Kelly Preston was at her youthful prime (she was just 22 in that picture), and the expression on her beautiful face - surprised doe eyes, parted lips that betray the need for justification, small chin drawing our attention to the full young breasts that threaten to spill out of her blouse - is a tribute to youth, to discovery, to long summer days under clear blue skies.

The context of the scene is not clear: both boy (Doug McKeon) and girl look caught in the act; but what act is that? Were they positioning themselves for sex? Is that why she has her back turned to him? Or was she trying to escape his unwanted advances?

What does the image tell us? She is barefoot, but we don't see her shoes anywhere. Were they carefully placed on the backseat? Were they lost in the struggle? Doug McKeon's left hand is resting on the front seat, supporting the weight of both their bodies: but could that same hand been caressing her dangling breasts just a moment before? A moment before something happened: before someone opened the front door, before she pushed the door open trying to escape?

Escape what? She is kneeling inside the car: she could be fending off his hands, she could have been caught fellating him. We cannot see his lap, we don't know where her other leg is resting. But our gaze is drawn to her shapely calf, to her delicate bare foot, to the swell of her firm dangling breasts.

And, whatever is going on, who wouldn't love to be Doug McKeon and hold all the answers in an eternal moment of bliss?

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