“Secretary” is a strange beast. It is a film about a woman who cuts herself and a man who spanks her for making mistakes. That is the premise, and it is a bold one. Steven Shainberg directs from a script by Erin Cressida Wilson, adapting Mary Gaitskill’s 1988 short story. The movie stars Maggie Gyllenhaal as Lee Holloway and James Spader as E. Edward Grey, and it plays out as a romance, a drama, and a comedy, often within the same scene.
The film follows Lee, recently released from a mental hospital after a severe episode of self-harm, who takes a job as a secretary to Grey, a demanding lawyer in Clermont, Florida. She is overqualified for the position, scoring higher than anyone Grey has ever interviewed. He warns her the work is dull, using only typewriters. Lee agrees, saying she likes dull work. At first, Grey is irritated by her typos and clerical errors. Then he finds himself sexually aroused by her obedience.
The relationship grows from irritation to arousal to something far more intense. Grey discovers Lee’s history of self-harm and orders her to stop hurting herself. Later, he makes her bend over his desk and spanks her after she continues to make typing errors. Lee finds herself excited by the ordeal. The two enter a BDSM relationship, and Lee experiences a sexual and personal awakening through these encounters.
Trailer, via Imprint Films.
Lee’s Family
Lee comes from a broken home. Her father is an alcoholic and abusive, her mother is overbearing and constantly arguing with her husband over his drinking. Her older sister and her sister’s husband live in the pool house in the backyard of the family home. The family dynamic is tense and unloving, and it shapes Lee’s sense of worth.
The film spends time establishing this background. It is a necessary setup, though it drags slightly. The dysfunction is presented matter-of-factly, without melodrama. Lee’s sister is played by Amy Locane, and her presence adds texture to the family portrait.
Grey’s Office
Grey’s office is a small, dim room filled with books and papers. He is eccentric and demanding, and his irritation with Lee’s mistakes is genuine at first. His warning about dull work is sincere. He tells her the typing is very dull, and he is surprised she wants it. This sets up the irony of the film: the man who finds her mistakes arousing is the one who warned her about them.
Spader plays Grey with a controlled intensity. He is not a cartoon villain, though the role could easily have gone that way. There is a nervous energy to him, a man who is both drawn to and repelled by the situation. The chemistry between him and Lee is the engine of the film.
The Spanking Scene
The spanking scene is the centerpiece of the film. Grey makes Lee bend over his desk and hits her, and she responds with excitement rather than pain. It is a pivotal moment because it changes the nature of their relationship. From that point forward, their interactions are defined by submission and dominance.
The scene is not gratuitous. It is a turning point in the narrative, and the film handles it carefully. Grey’s command that she never hurt herself again is delivered with force, and Lee’s response is immediate and visceral. The film does not linger on the physicality beyond what is necessary to establish the dynamic.
The Relationship’s Decline
The film tracks the relationship’s decline as well as its rise. Grey becomes increasingly withdrawn, displaying insecurity about his feelings for Lee. He feels shame and disgust over his sexual habits. Lee, meanwhile, continues to make intentional errors in the hope of receiving more corporal punishment. She is desperate for connection, and the punishment is the means to that end.
This is the tragic core of the film. Grey is pulled away by his own discomfort, while Lee is pushed forward by her need. The dynamic is unsustainable, and the film knows it. The tension builds until the relationship reaches a breaking point.
The Ending
The film does not resolve things neatly. It leaves the relationship in a state of uncertainty. Grey pulls back, and Lee is left to find her footing without him. The ending is open-ended, which some viewers will find unsatisfying. Others will find it honest.
The film’s final scenes return to Lee’s family background, circling back to the dysfunction that shaped her. It is a fitting conclusion, though it risks repeating ground the film has already covered.
The Performance
Gyllenhaal gives a remarkable performance. She plays Lee as damaged, intelligent, and curious. Her self-harm is not a plot device but a symptom of deeper emotional pain. Spader matches her, playing Grey with a mix of charm and menace. The two actors carry the film from start to finish.
Lesley Ann Warren plays Lee’s mother, Joan Holloway. Stephen McHattie plays Burt Holloway. Patrick Bauchau plays Dr. Twardon. Jessica Tuck plays Tricia O’Connor. Osgood Perkins plays Jonathan. Mary Joy plays Sylvia. Michael Mantell plays Stewart. Lily Knight plays the paralegal. These supporting roles are small but functional.
The Verdict
“Secretary” is a flawed but compelling film. It deals with difficult subjects — self-harm, abuse, BDSM — with a light touch that is not always earned. The humor sometimes lands awkwardly next to the drama, and the pacing can drag in the middle sections. But the performances are strong, and the central relationship is handled with a rare degree of honesty.
The film is not for everyone. Its subject matter will offend some viewers, and its handling of that subject matter will frustrate others. But for those willing to engage with it on its own terms, there is a great deal of craft on display.
“Assume the position.”
That tagline sums up the film’s approach. It is a blunt invitation, and the movie delivers on it. The result is a film that is uncomfortable, funny, sad, and occasionally beautiful.
Key Facts
– Title: Secretary (2002)
– Director: Steven Shainberg
– Writer: Erin Cressida Wilson, adapted from a story by Mary Gaitskill
– Runtime: 111 minutes
– Genres: Romance, Drama, Comedy
– Tagline: “Assume the position.”
The film is a bold, messy, and ultimately rewarding work of cinema.
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