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What caused a jolt wasn't just the arresting image of a gold-toothed Samuel L. Jackson growling out a profane rendition of the blues classic "Staggerlee," recorded live in a raucous Memphis juke joint. It was Christina Ricci, the lily-white alternative film princess, her torn lip a welt of red, her dirty blond hair tossed from side to side, grinding her sweat-drenched body against black men and women on the dance floor as Jackson looked on from the stage. Hollywood, which has often stepped cautiously around the subject of interracial sex, is definitely doing something different with "Black Snake Moan" -- which includes a sequence that finds the nearly nude Ms.
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The puzzling sexual games of Black Snake Moan.
Directed by Craig Brewer, Ricci spent most of the film being half naked on the set and in speaking to blackfilm. What was it about her that made you decide to go that far? Christina Ricci: Well, I think there are millions of women like Rae out there and the link between childhood sexual abuse and promiscuity in women and low self worth and post traumatic stress and low self esteem. That link has been well established. Then when I started doing more research about survivors of childhood sexual abuse and really understanding and reading testimonials and statistics and really understanding what she would be suffering from and the pain and fears and anxieties that were really her motivating emotions. I just felt so much compassion for her and felt really compelled to kind of protect her by playing her. So it was difficult to kind of get into that mode of always seeing everything through this anxiety and this fear. Sam also said that he got used to having you hanging around the set almost naked. Christina Ricci: Well they had to.
Though no one in the movie is precisely in love, most everyone is in a terrible state, lusting or raging after someone else or maybe just a dream of someone else , and so doing all kinds of things they don't want to do. Rae Christina Ricci and Ronnie Justin Timberlake first appear on screen in a series of close-ups, engaged in sweaty, desperate-looking sex. He's a National Guardsman about to ship off to Iraq and she's dead set against it. Though he insists he's doing it "for us," supporting the girl he wants to marry, she's feeling abandoned even before he goes, their discord suggested when she sucks on a post-coital cigarette as he dons his fatigues. Cut to the next moment, in which Ronnie's own anxiety bears down upon him: he spends his last precious moments at home with his head in the toilet, puking. She pats his back and worries. Ronnie's departure occasions the first indication of Rae's own "sickness. After trotting a few steps after the pickup truck that's bearing her Ronnie away, she drops to her knees, crying and writhing in the grass. Her sickness is thus set in rudimentary opposition to Ronnie's: he's unmanned by his anxiety, she's hyper-sexualized by her "need. The movie accords her a bit of hackneyed psychodrama as motivation, in the form of a recurring flashback: a blurry male menace holds a lighter near her, providing more blur and some literal heat.