The Center of the World
Cast :Shane Edelman, Molly Parker, Balthazar Getty
Director :Wayne Wang
Studio :Artisan Entertainment
Format :Color, Widescreen, Closed-captioned, Dolby
Released Date :January 01, 2001
DVD Released Date :May 21, 2002
Language :English (Dubbed)
Audience Rating :Unrated
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Customer Reviews
Rating
DateMay 23, 2005
Summaryintense sexy drama with leads in great performances
Content
Peter Sarsgaard(The Salton Sea, Empire) is in love with Molly Parker(Bliss1997, Sunshine) who is a hooker& a stripper and so Sarsgaard brings Parker to Vegas for 3 days where then things start to unfold. Sarsgaard's passion for Parker breaks down a wall and she might like him too. Great performances by the leads with some intense, sexual moments, some of which Parker shows some skin, nice..adult drama about obsession. Also starring Balthazar Getty (Project Greenlight's Feast, Lost Highway) and Alisha Klass.

Rating
DateJanuary 31, 2005
SummaryIt's 10:00 p.m.: Do you know where your lap dance is?
Content
Las Vegas. A computer nerd with too much money--a thin, freckled redhead with too little money. A gaudy hotel suite, complete with erotic paintings; a set of two double-doors, separating (permanently) our two protagonists.

And behold the movie THE CENTER OF THE WORLD. That's pretty much it.

Okay, there is a little more than the above, but not much. When computer wonder-boy Richard Longman (Peter Sarsgaard) finds himself infatuated with a stripper and rock drummer-wannabe Florence (Molly Parker), he offers the lady ten grand to spend three pleasurable nights in Las Vegas with him. Never mind the fact he could have used the money for a decent set of clothes and a shampoo, but I digress. Florence accepts the offer, but there are conditions. Primarily, ala the film "Pretty Woman," the conditions have to do with avoiding liking one another, so at once the viewer knows immediately what's going to happen.

So, in essence, we are treated to a film where two characters prance and frolic in wanton self-denial, until, at last, one of them finally succumbs to his/her (no giving away the storyline for me, by golly) emotions. The confrontation/climax is both bittersweet and unbelievable--especially once the rejector treats the rejectee to a most puzzling episode of self-pleasure, before the lowered eyes of said rejectee.

Where the heck did that come from?

But, again, I digress. THE CENTER OF THE WORLD is a handsome film, and very easy on the eyes. Both main characters could stand a square meal, by the way, but again, that's just me. Eat hearty, folks. The ending is contrived, nothing is actually resolved, and now I'm pulling the cushions off my sofa looking for loose change. Gotta save up my money: Ten thousand buckaroos is going to be dang hard to come by.
--D. Mikels

Rating
DateJanuary 19, 2005
Summary"You create a frontier."
Content
Florence (Molly Parker) drummer by day and stripper by night meets computer geek & millionaire Richard Longman (Peter Sarsgaard). Richard abandons his computer screen and checks out Florence's act at Pandora's Box. He likes what he sees, and he offers Florence $10,000 if she will spend the weekend with him in Las Vegas. Florence, at first rejects the idea, but then presents a counter-offer with VERY strict rules of engagement allowing limited sexual favours between the hours of 10pm-2 am. A contract is literally drawn up, and Richard agrees--reluctantly--to abide by the rules. Florence packs her rubber dresses and her high heels, and the two head to Vegas and check into a sumptuous adjoining suite.

"The Center of the World" is a fascinating film, and it's most fascinating in its depiction and exploration of sexuality. Here we have two characters who attempt to create a contract regulating the limits. Richard clearly wants more than Florence is prepared to give him, and Florence is only comfortable 'performing' literally with music. It's a situation that's destined for trouble. And there's a sort of naked honesty and best of intentions here, but at the same time the characters struggle and fail to understand each other.

The character of Richard is a little overdone--the scenes with his takeout food containers and half empty pizza boxes emphasize that this is a man who has put his personal life on hold while pursing his career. But Florence is a truly great character--someone who can't be bought but someone who still wants to deliver Richard's money's worth. Ultimately, the film's message is that sex is a complicated thing--and definitely something that can't be regulated. All the contracts in the world don't cover feelings and complicated moral issues, and while the contract between Florence and Richard isn't exactly the normal state of affairs between human beings, nonetheless, the contract serves in a way, as the figurative contract assumed by any couple--in any relationship. It's always the fine print ...

"The Center of the World" far outclasses such tripe as the syrupy sweet "Pretty Woman" or the souped up romance "Indecent Proposal". Obviously this is a film for adults only, and due to the strong sexual theme, it's really reserved for those more tolerant of certain raw aspects of sexuality--displacedhuman

Rating
DateAugust 05, 2004
SummaryBoring to watch
Content
The actors spend too much time just staring at each other without speaking. The story is too unbelievable too. It was a waste of my money to buy it.

Rating
DateJune 06, 2004
SummaryExploring the boundaries between reality and fantasy
Content
Think the premise of "Pretty Woman," but more firmly grounded in the real world, and you might get close to what "The Center of the World" is all about. This film abandons the glamourized Hollywood notions of sex workers, and doesn't engage in the pat, happy ending that we saw in "Pretty Woman"... and it is a far better film for it. Furthermore, Molly Parker is far more exotically lovely than Julia Roberts could even hope to be, and a better actress to boot.

In short, if you're looking for a romantic escapist fantasy about a sex worker redeemed by the love of a good man, look elsewhere -- this film is far more complex than that.

Comparisons to "Pretty Woman" do seem inevitable however, to the point that I wonder if the director and writers weren't crafting this film as a direct response to that one, a way of saying, "Whoa boy, reality check!" The premise is familiar at least. Richard (Peter Saarsgard) is wealthy but lonely after a breakup with his girlfriend two years before. He meets Florence (Molly Parker) in a coffee shop and finds out that she is a stripper. He visits her at the strip club where she works (nicely named Pandora's Box), and is so intrigued by her that he offers her $10,000 to spend three days with him in Las Vegas. She agrees, with a number of strict conditions, including limiting the number of hours she is required to "work," and limiting the acts she will perform. "No kissing on the mouth" (sounds familiar, no?) and "no penetration" are among her limitations.

From this familiar territory, though, the film explores new ground. Richard and Florence get to know one another as they spend more time together, and Florence finds out that Richard isn't such a bad guy, just lonely. "Why do you have to be so nice?" she asks him at one point, partially angry and partially not. Richard, in the meantime, is becoming more and more deeply entranced by this woman he has hired, which becomes part of the conflict.

Given the subject of the film, there is of course a great deal of sexuality portrayed in it. It is handled pretty tastefully, and none of it is there for its own sake. It is partially through their sexual relationship that we see the growth and the limitations of the characters' relationship in general. The sex scenes are handsomely shot and are not the typical sort of scenes one might expect from an erotic film; nevertheless (perhaps because they are unique), they are extremely erotic.

The acting is quite good. We spend most of the film only seeing Richard and Florence interacting together, with just a few other characters showing up here and there, but the two lead actors have the chops to sustain the film from beginning to end. Peter Saarsgard plays a "nice guy" well, and it's good to see that he doesn't overplay it at all. He's a very real nice guy, with flaws and points where he stops being nice out of frustration or anger. Molly Parker, as Florence, lends a similar depth to her role. From the first moment you see her you can see why Richard becomes infatuated with her: she is ethereally lovely, with a husky voice that is simply enthralling. But it is her personality that Richard really falls for, and that too is portrayed believably. She is played with a genuine warmth and likeability that is often missing from erotic films, but not overly sweet like "Pretty Woman" and many other Hollywood attempts at a similar story. I suspect that Molly Parker will be a talent to watch carefully in the next few years.

The nature and limitations of the relationship between these two people -- in one sense employer and employee and in another far more intimate than that -- becomes the main subject of the film as it progresses. How much of what Florence is giving to Richard is real, and how much is an act? How does the aspect of money change what happens over that three days? Are his feelings based in reality? Are hers?

Some of these questions are answered at the end, others are left open to the viewer's interpretation. There is nothing about the end, however, that is trite or simple, and as in life, there is a great deal that will depend on the perspective of the person watching the story unfold. This is a film very much grounded in reality, dealing with real people in a realistic (if unique) situation, and in the end it avoids the typical Hollywood fantasy notions that are so common.

Comparisons to "Pretty Woman" may well be inevitable for this film, but in such comparisons "The Center of the World" comes out ahead in every category. It's not a perfect film, but it is an excellent one. It is both sexier and more realistic, and that makes it well worth watching in my book.

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