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So, why are portraiture scenes so hot? Part of the fascination with portraiture—both on- and offscreen—is the power dynamic between artist and subject. Take the works of prolific British painter Lucian Freud—currently the subject of a major retrospective at London’s National Gallery—which have long been connected to sex; Freud himself once said that the paintings which excite him the most “have an erotic element or side to them.” His grandfather, psychoanalyst Sigmund Freud, is famous for his theories on sexuality and human development—he’s even hilariously name-checked by Rose in Titanic.
As Patrick draws Tom’s portrait, the sexual tension rises as his pencil sweeps across the page. Noticeably, the homoerotic scene unfolds without much dialogue, which was part of Grandage’s plan for the film. “Visuals and touch are part of the language I wanted to use to tell this story,” he explains to Vogue. “Whether it’s that first graze of the neck that Tom gives Patrick in his apartment, a hand gliding over marble, or the way someone holds a cigarette.” My Policeman is by no means the first film to use portraiture as an erotic, narrative-driving device. The most famous is, of course, Titanic, released 25 years ago this December. The blockbuster opens with a mysterious portrait of a young Rose (Kate Winslet) recovered from the wreckage at the bottom of the ocean. Rose tells the story of how it came to be, leading up to the moment she posed for her struggling artist lover Jack (Leonardo DiCaprio) wearing only a blue heart-shaped diamond necklace. Of course, the pair have steamy sex in a car moments later. In Peter Weber’s Girl with a Pearl Earring, based on the 1999 novel of the same name, young 17th-century servant Griet (Scarlett Johansson) poses as the model for Dutch painter Johannes Vermeer (Colin Firth). Near the end of the film, Vermeer pierces her earlobe so she can wear the earring that makes his most famous portrait so distinctive—with the scene shot in a deliberately (if problematically) sensual way.Photo: Parisa Taghizadeh / Courtesy of Amazon
The central question—and source of erotic tension—is always: Who is really in control? Grandage tells me that, in preparation for filming My Policeman, one of the films he advised the actors to watch was Joseph Losey’s The Servant (1963). “It was a huge influence on me in my early life,” he says. “And it’s another film, by the way, about sex and class.” There is a class disparity in My Policeman, where Tom is accustomed to moving through the world in his uniform and being in a position of respect and authority, but suddenly Patrick speaks a language of art and culture which he doesn’t understand. With Tom out of his depths and insecure about his masculinity, the portrait scene is one of the only points in the film where it feels like Patrick is in charge.There’s an even bigger class divide in Girl with a Pearl Earring’s portrait scenes, with Griet wholly dependent on her employer, Johannes. Meanwhile, in Titanic, the situation is multi-layered: Rose is the wealthy female subject and Jack a penniless artist, which could be viewed as an inversion of the standard relationship between artist and model. Yet Rose becomes much more interested in Jack when she sees his sketchbook and learns of his artistic talents. She is surrounded by rich people who can’t distinguish between financial and cultural value, so Jack’s understanding of art and beauty is part of his allure, encouraging Rose to shun her own class.
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