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By David M. Korn in New
York City
Selma Blair is a
face to watch, and what a face. She's an elegant and graceful young
actress, with delicate, striking features that coolly impress themselves
onto the awareness. Even among her most attractive, noteworthy peers, she
stands out. But her film appearances have smartly avoided exploiting her
stunning looks and utilized her talent.
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This time around, Ms.
Blair will surely be more than noticed for her role as Vi, a creative
writing student jilting her needy, Cerebral Palsy-afflicted boyfriend for
her imperious black writing professor. The film opens with a sex scene
with the boyfriend, played effectively by "Kids'" Leo
Fitzpatrick. The penultimate scene is a grim, impersonal sexual encounter
with Mr. Scott, the riveting Robert Wisdom. Although the scene is covered
by a red block, it's no less harrowing and will be discussed as probably
no other scene will be in any film this year. "I don't know if
something's wrong with me," Blair says when asked about her bravery
in doing the film. "But I didn't feel brave at all. Todd's the brave
one." Indeed, she wears her responsibility for the film very lightly,
and feels that there's little to be defensive about. "I love this
movie. I love all of Todd's movies."
She's clearly
grateful for this opportunity to stand out, and do something different and
interesting. Controversy is simply not an issue. "It was easy and
refreshing not to have to worry about being likable," she says
happily. This is certainly the attitude that an actor must have going into
a Solondz film, since none of the characters ever seem likable, or
satisfied, for that matter. Todd Solondz is interested in the illusions
people have about themselves, and his vision is uncompromising. Vanity is
given no justification. Actors have to be self-effacing without being
self-conscious. It's a difficult balance. "A little goes a long way
with Todd, and with Vi," Ms. Blair comments wryly.
When asked about the
"big" scene itself, she's no less sober about its harsh nature.
"I viewed the scene as a little more of a rape than it seems now. But
she's a consenting adult." Ms. Blair has no interest in explaining it
or justifying it, which is certainly refreshing for the rest of us.
There's not a shred of doubt or discomfort when she discusses the scene
that will make her lesbian kiss in "Cruel Intentions" seem
trivial. "She's a little girl who got in over her head." Ms.
Blair is actually more interested in the fact that in America, no one will
be able to see any of it. "I love the red box. I think it's
hysterical. It cracks me up that my naked ass is deemed unsuitable and too
upsetting, but 'F--- me, n------,' isn't." Vi repeats this line
throughout the scene, and it's not censored. Upon the suggestion that
leaving the details up to the imagination will probably make some people
assume that it's much worse, Ms. Blair offers, "It makes the scene
very open-ended."
Whatever happens and
however the public responds, Ms. Blair is in it for the long haul. She's
interested in being nothing but a good actress, and being in films of all
kinds. She did "Legally Blonde" after "Storytelling,"
and has both low and no-budget films coming out. But she'll still be seen
in some solid studio fare by the end of the year, including "The
Sweetest Thing" with Cameron Diaz and "A Guy Thing" with
Jason Lee. "I have no strategy, but I don't want to do complete
schlock. I don't want to put myself up to the ridicule of glamour and
fame." Ms. Blair has made an excellent start, and adds that she wants
to do things in which she can "find a little truth."
With
"Storytelling" opening on Friday, Selma Blair has found more
than that.
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