DISCLOSURE

US, 1994, 128 minutes, Colour.
Michael Douglas, Demi Moore, Donald Sutherland, Caroline Goodall, Rosemary Forsyth, Roma Maffia, Dylan Baker, Dennis Miller.
Directed by Barry Levinson.

I'm not sure that we receive enough clues to determine with any accuracy the psychological types of the two protagonists of the very interesting drama, Disclosure (with a thoughtful screenplay by Paul Attanasio, writer of another intelligent film that can be recommended, Quiz Show). The action is so particular and the focus on sexual harassment and corporate politics so defined that we can only speculate.

However, it seems to me that in the crucial area of decision-making, we could make a case that the Michael Douglas operates on a more personalised basis and the Demi Moore character is more thinkingly rational, though she does become a victim of her plotting.

Because the movie (and Michael Crichton's bestseller) challenges audience presuppositions about women harassing men and the 'politically correct' stances about believing accusations by women and how this reverses the male supremacist attitudes of the past, the film continually raises issues of expected mate behaviour and expected female behaviour.

And, then, because the statistics suggest to us that in the United States (and in Australia) a high majority of men identify with objectivity (70-75%) and a high majority of women identify with more subjectivity (70-75%), the film continually counters expectations of how each of the contenders in the harassment case behaves.

Even those who have not seen the movie will know that Michael Douglas arrives at work expecting to be named a vice-president of his company. , Instead he finds that out-of-town hotshot executive, Demi Moore, with whom he has had an affair in the past, has been appointed. She invites him to her office in the evening to discuss matters (and drink a favourite wine) where she 'comes on' to him. Succumbing at first, he then strenuously resists her as she persists trying to argue him, seductively, out of his refusal. The next day he decides to accuse her of sexual harassment; in the meantime, she makes counter-charges.

Much more of the screen time is given to Michael Douglas. He is initially presented as a decent family man, but seems to be so decent that, while skilled at his computer and virtual reality work, he does not push himself, In fact, several references are made to a seeming ‘wimpishness’ in his acceding to other people's wishes, always being agreeable. His wife remarks that he must be the only person who 'sucks up 'to those who are beneath him. She also says apropos of the difficulties in the company that he is 'too nice'. His boss dismisses the possibility of his causing difficulties. When push comes to shove, he hasn't 'got the guts'. He is presented as somehow not typically macho male.

He is a strong family man. He does not want to hurt his wife. She has been a lawyer and handles the crisis in a much more objective thinking way than he does. His strong subjectivity means that he presents his case and his defence in a less than persuasive logical way. His attack on his female assailant becomes a personal quest. And when it develops into corporate espionage tactics, he relies on people, on ingenuity, a personal vindication and victory. The final sequences reinforce this as he retains his decency rather than ruthless ambition.

Which means that we tend to see Demi Moore only in relation to the case and the company politics. It is a bit difficult to comment on her behaviour, especially in the last half of the film, without revealing too much of the plot. However, she is presented as the strong woman, determined, ambitious, with a combination of clear vision and more than a dash of Machiavellian tactics. She is calculating. And, what might seem initially her acting on subjective criteria, eventually appears as more calculated than anticipated. Part of her anticipation of the events is that she cannot lose.

At the hearings, she resorts to feigning femininity. She moves into acting, acting as the hurt and injured woman, while attempting to paint him as a cool and aggressive and expecting the arbitrator to accept this. In fact, these hearings sequences, with her attempt at role reversal, highlight the theme.

Disclosure is only a novel and a movie and it aims at making its audience think. To the extent that its role reversing could have a backlash on how both men and women respond to 'thinking' women, men being defensively aggressive towards women, the film could be dangerous. To the extent that it breaks through stereotypes and shows that women can be 'thinkers' and men feelers', it is a timely piece of seriously entertaining movie-making.

1. A film of the 1990s? The role of men, the role of women? Corporations, the glass ceiling, sexual relationships, harassment?
2. The book by Michael Crichton, the adaptation? The strong cast and the images in film?
3. Seattle, the city and the vistas, the business world, wealthy corporations, offices and the lavish layout, laboratories, the virtual reality experiments? Homes, the island, fairies? The musical score?
4. The title, the legal implications?
5. The captions of the action day by day?
6. Michael Douglas as Tom Sanders, his screen career and image previously? At home, his wife and children, happy and domestic? The important day? Driving to the ferry, the support of his wife? Going to the office, the cemetery and her reaction, two assistants and their chat, the sexual innuendo and his behavior? Attitudes and small detail used against him?
7. The setup, Blackburn and his visit to Tom, the Kings, his being a handler, his expressions, use by bob, the plan, friendly but warning? Bob, jovial, concerned about the merger, critical of Tom?
8. The introduction to Meredith, Demi Moore in this role? First glimpse of her, her legs? Clothes, manner, the executive, deep ambitions, friendly with bob? Turning to Tom? Her affected manner with him?
9. Stephanie, her role in the company, Weisz, not getting promoted? Her son, at university? Her final promotion, praise of Tom? The revelation about her being a friend?
10. Tom and the past with Meredith, their affair, intensity, sexuality, wines and trips? The change?
11. Meredith’s invitation to Tom, the time, the wine, the reason and her using this? The phone call, the irony of its not being turned off and recording what happened? Marius and her sexual advance? Tom’s reaction, the temptation to comply? Meredith, aggressiveness, Tom and his beginning to resist? The cleaning lady to go home? Marius and her shouting, anger? The details of the assault, her exercise of power? The effect on time, his going home, the shower, her scratches on him, the decision not to tell system?
12. Tom going to work, the obvious response to the rumors, his separately and her reaction, Blackburn and his visit, talking about tom’s attack on Meredith? Bob and his six assuming that Meredith was telling the truth? Tom and his reaction, wanting to tell the truth, his not being believed?
13. And the emails from a friend? His trying to find out the origin? Of his communication privileges being taken Katherine and farmers, her reputation, bob’s comment on her? Tom’s visit, his angers, her asserting herself, the interrogation, getting information, far? The attempts to buy a time off, the threats, to move him to Austin?
14. The hearing, the arbitrator, a woman? The the lawyer and his smugness, sleazy attacks, his aggression? The insinuations to Tom? Tom and his asserting the truth? Mary’s, dress, prim, as victim? The status of sexual harassment and the presumption against a man? The break? Katherine and her turning on Meredith, the evidence, a set of three, the cleaning lady, the choice of the wind and its availability and Seattle? Meredith asserting this love eyes, assuming the role of victim? Susan’s presence, the meal with th mike and on, immediately supporting Tom? Her later reactions? Her being present at the hearings?
15. The man and the ferry, the phone call, the mistaken number, the phone on, the voices? Produced, played at the hearing? Marius and her having to back down? Her rationalizations?
16. Susan as a character, love for Tom, at the hearing, her reactions, trying to understand?
17. The intends to sabotage time, getting to his associates, her not wanting to lose their jobs at the young age? For the setups?
18. The assistant, giving information, bob and the company with drinks about the nature? Tom, the office, going to the virtual reality, discovering mirrors their effort deleting the files?
19. Blackburn meeting Meredith, in the gym, the lies, Tom overhearing? The plan?
20. Tom, the presentation, his being invited to speak, Meredith and her some years, wanting evidence? His explanations, manufacturing, for Malaysia situation, showing the footage of her visiting Malaysia? Her lies? Of taking her aside, her being fired?
21. Mary’s defiant, confronting time, sensual return in 10 years and by the company?
22. The merger, bob and his announcement, Stephanie and the promotion, praising Tom and giving him a job?
23. Tom, Stephanie sun, at the university, the truth about a frenzy?
24. The film of corporations, mergers, rivalries, deals, manipulation, dirty games?
25. Sexual harassment but in reverse of expectations about men and women?