She infamously made her name admonishing Matthew Modine naked from the waist down in Robert Altman's movie Short Cuts. Now, 15 years later, mother-of-two Julianne Moore remains unrepentant about onscreen nudity and looks anything but mumsy in a stunning new photo-shoot. The year-old scrapes her trademark red locks back for her striking new look as she poses in a series of raunchy black outfits. In one of the shots for Wonderland magazine, Julianne squats in a provocative pose in a pair of sky-high platform boots, Marc Jacobs trousers and a Wolford body. But she has no regrets about stripping in front of the camera, and fails to see what all the fuss is about. She says: 'People ask all the time if sex scenes and nudity are hard. Not the lines or the physicality, but the emotion.
I was pleased to see that this was a concern of his, since after seeing the film, it concerned me as well. But after thinking about it for a while, I came to the conclusion that nudity was not, in fact gratuitous, but that it was included for a purpose. I then began to analyze the specific instances there were many in which it occurred, and I began to see a pattern emerging, a disturbing pattern. Altman has been accused of misogyny in past films and I have usually not concurred with this accusation. To me, to be misogynistic, a film must convey misogyny in its central message. This is an old theme, one that has been used in many cultures, including ours, to undermine women. In the best example, Matthew Modine confronts his wife Julianne Moore and accuses her of having had an affair. He is sitting, cowering and pathetic, as she walks around the room wearing no panties, flaunting her sexuality in his face and making him feel even more powerless. Tom Waits is driven crazy by the fact that other men are admiring his wife, Lily Tomlin. While Tim Robbins is a blatant philanderer, Madeleine Stowe is portrayed as the powerful one in the relationship.
Directed by: Robert Altman. Based on the work of the celebrated short story writer and poet Raymond Carver, who died of cancer at the age of 50 in , Short Cuts is Robert Altman's latter day masterpiece. It's a toss up between this and Nashville as to which is the maverick director's absolute best film. Both tell seamlessly intertwined stories set in an American city featuring very large ensemble casts. Both films demonstrate the director's trademark layering of sound, and both films incorporate music into the story in a very important way. And of course, since this is Robert Altman, both films have a decidedly cynical view of humanity.
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