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The cinema is home to any number of legendary asses: Bardot, Balthazar, Brett Ratner. Her ass is the perfect representation of a girl who exists to us only as a long curve of questions. Details become clues, their erotic value supplanted by their potential as evidence. The pink panties stretch across the middle of the frame—if this were a crime scene, they would be the murder weapon. You consider the cut of the underwear, snug but not seductive. Finally, explicitly, we focus on their color, a fleshy, gender-intense but sexless tone with a hue just strong enough to demand further attention. Is all of that color inherent to the fabric, or is some of it glowing from beneath? And why pink? The image explicitly forbids patterns. Black panties would have been titillating and impenetrable, perhaps even draping the entire film in a patina of illicit sex that might have gotten tongues wagging at the expense of the sensitivity required to appreciate the relationship Bob forms with Charlotte.
Lost in Translation
I t took some time to convince Scarlett Johansson that a lingering shot of her bottom, encased in sheer, pink pants, was categorically the only way that director Sofia Coppola could open Lost in Translation, officially the hottest film of next year. Johansson had reservations. She's not being coy about it. Coy isn't in her repertoire. It doesn't go with her voice, which is low, sardonic, fag-filled. I said, I'll wear underwear, if it isn't sheer. I had to wear underwear, like, the whole movie. It became very easy for me to trounce around in my underwear, in front of a large group of Japanese men.
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