KISSED
Canada, 1996, 78 minutes, Colour.
Molly Parker, Peter Outerbridge, Jay Brazeau.
Directed by Lynne Stopkovitch.
Kissed is the first feature film of set designer Lynn Stopkovitch. She went on to make a number of television series and films as well as Suspicious River. The star is Molly Parker, British Colombian, who appeared also in Suspicious River, a number of Canadian films as well as such British films as Pure and Wonderland. Peter Outerbridge, her Canadian co-star, has appeared mainly on television.
Kissed has a bizarre subject, necrophilia. The film is presented frankly but generally elegantly and without too much sensation. It is a psychodrama presenting a young woman who is fascinated by the body, fascinated by death, respects bodies and works in an embalming funeral home and then is caught up in emotions for the bodies of the men she embalms. The film tries to explore the psychology of this kind of love and sexual feeling. Molly Parker appears as a rather young innocent, in her early twenties, rather introverted yet understanding the drives she experienced. She encounters a student, played by Peter Outerbridge, who falls in love with her, becomes fascinated with her experiences, ultimately killing himself in the embalming room so that he will be with her, dead.
This, of course, is not everybody’s film entertainment. Seen, however, as drama and psychodrama it is an opportunity to reflect on and feel about abnormal behaviour.
1. The impact of the film? The theme? The treatment? The performances? The point of view of the writer, the director?
2. The film as a psychodrama about necrophilia? How effective, offering insight, emotional identification – or not?
3. The Canadian setting, the town, Sandra as a little girl, her adult life, her studies, at the university, the funeral home, the embalming room, Matt’s apartment? An authentic atmosphere – giving a sense of realism? The musical score and the emotions as audience watched this psychodrama?
4. The title, its reference to Sandy, to Matt? As a summary of the psychological drive to necrophilia?
5. The voice-over, Sandra explaining her life, her speculation about death, her awareness of the body, her fascination with the dead, her psychological motivation? Her own assessment of herself, the drives, her behaviour? Her explanations to Matt, not wanting him to observe, not wanting him to intrude in her experiences?
6. The portrait of Sandra as a young girl, her friend, the burying of the dead animal, her mother’s intervention, not seeing her friend again? The traumatic effect of this break of friendship? Her relationship with her mother – and her mother glimpsed during Sandra’s adult life?
7. Her studies, her fascination with death and its meaning? Her fascination with bodies? Going to the funeral home, observing? Talking with Mr Wallis? His assistant? Her decision to study, to be an embalmer?
8. Her dealing with grieving people at the funeral home, her skills? Her skills as an embalmer?
9. Mr Wallis, his skills, explanations? The assistant and his observance of Mr Wallis? Mr Wallis and the homosexuality?
10. Sandra, alone with the bodies, watching them? The echoes of the credits sequences and the fondling the hair? Her embracing the bodies, her going further? The growing drives? Her explanations of what happened to Matt, of what happened to her?
11. Matt, the drop-out student, attracted towards Sandra, in class, talking with her, meeting her afterwards, the dates, the discussions, going to his apartment, the affair?
12. His fascination, wanting to know more, wanting to observe? The film exploring his own psychology, his obsession, prurient curiosity? The climax of his stripping, putting the noose around his neck, the final speech and plea to Sandra, his killing himself?
13. The aftermath, Mr Wallis, treating the body, Sandra left alone?
14. Sandra’s future, her ability to live a sane life, keep her obsession in its place, the effect of Matt’s death?
