They say Eve was born out of Adam’s rib. But surely not CRANK’s Eve played with sizzling allure by Amy Smart. This Eve has something of Lillith in her, and Lillith was born of no mere mortal. She was born out of God’s wet-dreams. She’s a temptress in a virgin’s disguise. She’s every viewer’s erotic fantasy.
She’s not a character per se in this film. She’s the embodiment of lust, the über blonde bimbo air-head that every adolescent has up in the golden shrine to the promises of tomorrow. She’s hotness personified. She’s the god-mother, the life giver, the nurturing erotic fertility symbol.
When we’re allowed to enter her abode it is with the perspiring skin and hammering heart of a heathen to whom it is given to contemplate divinity. She stretches like a lithe feline, moves like a caress, dresses like a testosterone induced dream. She is all female, sexy and young and prim, and yet she seems unaware of herself… she’s natural. She doesn’t care that each of the simplest moves she makes has the potential effect – like Helena’s before her – of launching a thousand ships.
She’s the virgin and the whore, the Madonna and the Mistress under the same guise. She’s at the same time ripe and unattainable, innocent and temptress. She looks like an angel and behaves like a devil. She could fuel a hundred tracts on theology, and still remain a thousand year old woman on a girl’s body, a girl lost on men’s violent world.
There’s a certain degree of innocence on the deepest of sins, for only the truly innocent can really sin deeply. Although she has but a few lines, she’s the center of this movie. She’s the prize both Good and Evil covet; she’s the fountain of sin and the cradle of redemption. For all the killers, for all the lions, for all the weapons raised and fired, she’s the only one to decide over life and dead… She’s the eternal girlfriend, blowing his man while traversing a hailstorm of bullets, she’s the one officiating the public ritual of resurrection, with both Mary and the Holy Father looking in envy over her shoulder.
She’s not a character per se in this film. She’s the embodiment of lust, the über blonde bimbo air-head that every adolescent has up in the golden shrine to the promises of tomorrow. She’s hotness personified. She’s the god-mother, the life giver, the nurturing erotic fertility symbol.
When we’re allowed to enter her abode it is with the perspiring skin and hammering heart of a heathen to whom it is given to contemplate divinity. She stretches like a lithe feline, moves like a caress, dresses like a testosterone induced dream. She is all female, sexy and young and prim, and yet she seems unaware of herself… she’s natural. She doesn’t care that each of the simplest moves she makes has the potential effect – like Helena’s before her – of launching a thousand ships.
She’s the virgin and the whore, the Madonna and the Mistress under the same guise. She’s at the same time ripe and unattainable, innocent and temptress. She looks like an angel and behaves like a devil. She could fuel a hundred tracts on theology, and still remain a thousand year old woman on a girl’s body, a girl lost on men’s violent world.
There’s a certain degree of innocence on the deepest of sins, for only the truly innocent can really sin deeply. Although she has but a few lines, she’s the center of this movie. She’s the prize both Good and Evil covet; she’s the fountain of sin and the cradle of redemption. For all the killers, for all the lions, for all the weapons raised and fired, she’s the only one to decide over life and dead… She’s the eternal girlfriend, blowing his man while traversing a hailstorm of bullets, she’s the one officiating the public ritual of resurrection, with both Mary and the Holy Father looking in envy over her shoulder.
She’s every man’s dream, every woman’s nemesis. She’s Lillith the temptress. She’s Eve, the innocent. God, I can’t wait to see CRANK II.
