“Bound” is the American neo-noir crime thriller film of 1996 that debuted the career of prolific directors, Lana and Lilly Wachowski, widely known for their directing of The Matrix Trilogy. Even prior to their rise to stardom in the film industry, the Wachowskis had displayed quite a marvelous grasp of visual storytelling, character development, and genre subversion in their film Bound. Additionally, the film’s tight plotting, inventive camera work, and fearless depiction of a lesbian romance in a male-dominated genre has earned it a number of accolades, achieving cult status over several decades.
Plot Overview
Set in an austin-esque fictional version of Chicago, the film starts with the introduction of Corky (Gina Gershon) who is a tough-voiced exCTe actress. She undertook the task of refurbishing a lavish apartment in a high-rise building that was previously occupied by a known criminal. Alongside her lives the sultry and enigmatic woman known as Violet (Jennifer Tilly) who almost instantly gets infatuated by Corky. Caesar (Joe Pantoliano), a mobster from the Mafia who is responsible for money laundering, is the owner of the muffin business.
Even though Violet appears to be unhappy throughout the entire relationship, it is clear that Caesar is both possessive and dangerous. Violet and Corky started having a secret affair after being pulled together by both passion and an innate desire to escape. It doesn’t take them much time to come up with a plan to steal $2 million worth of mob money from Caesar. Their elaborate scheme includes framing another gangster as the one behind the theft as they know Caesar’s paranoia will lead to his self-destructive tendencies.
While the money laundering operation is in progress, everything goes according to plan, until the plan starts to unravel in unforeseen manners. His violent temper and growing suspicion leads him to become unpredictable. The second half of the film turns into a heart pounding thriller as Violet and Corky try to outpace Caesar and escape the clutches of the mob.
The sharp intersection of betrayal, deception, love, and loyalty sets the plot up for an unexpected violent climax. This culminates with the noir fairy tale epitiph as Corky and Violet drive off into the night.
Primary Cast and Their Performances
Gina Gershon as Corky: Gershon’s interpretation of Corky is multifaceted and subtle. Grounded in a no-nonsense approach with an unwavering moral compass, she captures Corky’s quiet intensity intricately. In grief, lore is rare as it often lacks empires. Corky exemplifies noir fiction: flawed yet sturdy and deeply emotional unlike her male counterparts. Gershon captures these facets of noir fiction beautifully.
Jennifer Tilly as Violet: Tilly’s depiction of Violet showcases vulnerability intricately paired with manipulation. Initially written off as a figurative femme fatale, Violet becomes increasingly multi-dimensional. Her staunch loyalty to Corky, paired with her longing for freedom, propel the character and add emotional nuance that is often overshadowed by genre clichés. Does she free herself only to be trapped by blinds of envy?
Joe Pantoliano as Caesar: For Pantoliano, Caesar is a volatile character. His take on the character is fully explosive, dim unpredictable, and at times truly horrifying. Embodying the violently unstable side of mob world, the film’s opponent is fundamentally Joseph Pantoliano. Energetic and realistic, his freakout spiral into paranoia is catastrophic in nature.
John P. Ryan and Christopher Meloni also feature in supporting roles. Ryan assumes the position of mob head Mickey Malnatoi and Meloni poses as Johnnie Marzzone, son of a Mafia hotshot. Their dual inclusion marks the inflating tension and danger of the plot.
Direction and Cinematography
Each aspect of direction for Lana and Lilly Wachowski’s work is coherent and blended with precision–their use of noir shadows, cramped spaces, and morally flexible characters exudes a modern twist. The tension and claustrophobia presented in the film is yet another impressive feature, aided by close-ups, strong color contrasts, and movement in the camera’s angles.
Narrative suspension becomes heightened due to Bill Popes’ skills; he is a cinematographer who has worked with the Wendy sisters on The Matrix. Bill strategically used light and space which dramatically contributed to the setting’s mood. The confined apartment space is a notable setting as each room, hall, and even small cracks in the walls build suspense throughout the film.
Editing and Music
Editing was a task assigned to Zach Staenberg, who kept the pacing preeminent and suspensive throughout the film. Each scene is timed meticulously to create a rhythm likened to the story’s escalated tension.
Orchestral suspense combined with textures of electronics make up the score which was crafted by Don Davis. Bound along with the later released The Matrix showcase the Wachowskis skills with music and sound design. In Bound, the score highlights the themes of danger, secrecy, and seduction without distracting viewers from what is happening on screen.
Subversions and Analysis
Bound deserves special attention due to its audacious subversion of genre expectations. In classic noir films, women are typically shown as victims or femme fatales that serve the purpose of either aiding or antagonizing men in power. This treatment is taken of the norm in the story, but the Wachowskis flip the script. Corky and Violet are not peripheral figures and eye candy; they are protagonists and the focus of the plot. Their lesbian relationship is not a device for exploitation. It profoundly fuels the emotional and psychological complexity of the film.
Additionally, the film does not fall into the negative stereotypes of LGBTQ+ representation from that time period. Their romance is not tragic, shameful, or steeped in fatalism. Rather, it is empowering. Both women embody complexity, capability, and victory.
The discussion of identity, control, deception, and freedom are omnipresent in the film and parallel the larger issues of agency and autonomy, particularly for women trapped in a violent, patriarchal reality.
Reception and Legacy
Bound was harshly received during its premiere in 1996, having enjoyed acclaim in all the critics circles. Reviewers enjoyed the movie for Gershon and Tilly’s overpowering chemistry, as well as the intense direction and suspenseful storytelling which was distinct from other works at that time. During the era when nuance and authenticity were lacking in the representation of LGBTQ+ individuals in mainstream cinema, Bound shattered expectations.
The film has now gained a cult following over the years, and is regarded as a groundbreaking piece in the LGBTQ+ and crime thriller genres. Additionally, it has become a notable film in conversations regarding feminist film studies and queer representation in art.
Audience and IMDb Ratings
The film’s rating on IMDb does not seem to falter, as it remains at a 7.3 out of 10. This showcases the film’s continued appeal and significance. It is still applauded for its storytelling, direction, and bold treatment of identity and genre.
Final Words
More than a crime thriller, Bound is a fierce indictment of the genre. It shaped the careers of two pioneering filmmakers, and offered Hollywood a complex love story shrouded in suspense. With its powerful performances and sharp direction, the landmark film becomes timeless. Bound is a neo-noir for a new age— one in which women assume control, love knows no confines, and genre norms are embraced to be turned on their head.
Watch Free Movies on o2tvseries