![]() ![]() Tilly had been Oscar-nominated two years earlier for her supporting role in Woody Allen’s Bullets Over Broadway (1994), and although her kittenish voice would soon be more closely associated with the titular puppet in Bride of Chucky and Bonnie on Family Guy, the Wachowskis had her dial down her idiosyncratic sound to a dramatic, sleepwalky whisper. It gives Bound a grounding for the actors, directors, and cinematographer to go to extraordinary places.īound was the right combination of creatives at the right time. It’s a familiar crime film framework , but that familiarity is what makes every unexpected twist so delicious. Within days of meeting in the elevator, Violet and Corky start up a steamy affair and are soon hatching a plan to disappear with the $2 million that Violet’s violent boyfriend, Caesar (Joe Pantoliano), has locked in his office to deliver to his boss. The 1996 noir, which just began streaming on Hulu, remains as fresh and edgy as ever.Īt Bound’s center are two women: Violet (Jennifer Tilly), who lives in the Chicago penthouse of her mafioso boyfriend, and Corky (Gina Gershon), a magnetically swaggery ex-con who’s been hired by the building manager to paint and repair the vacant unit next door. I was nervous about how Lana and Lilly Wachowski’s debut would hold up 25 years after it was first released, but as it turns out I didn’t need to worry. ![]() Fast forward to 2021-would Bound live up to my memory and expectations? Given the dearth of queer representation, we convinced ourselves that we loved everything we saw no matter what, down to the neutered gay characters serving up puns on Will & Grace. Back then, my college friends and I were so desperate for LGBTQ content that we’d hold house parties to watch pirated VHS tapes of the original ten-episode British series Queer As Folk, converted from imported PAL-format tapes by a friend of a friend in our school’s AV department. The audience was rapt, cowering in their seats or nervously laughing in all the right places. I first saw Bound in 2000 at a special screening at the Castro Theatre in San Francisco, four years after its initial release. Please welcome guest contributor Brent Calderwood.
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