She’s dressed in black lingerie, and caresses her brassiere with a glass of wine, oblivious to Nick’s gawking, and exotic in a gently urgent breeze. She’s first seen on one of Nick’s 9-o-clock jogs, which culminates in him ascending a tree right outside Helena’s window. The Venus de Milo is still there, and from this point onward it’s not much more than an incidental decoration, but it is a symbol of oppression of formidable, if unintended potency, a beautiful women incapable of escaping your gaze-or, if you happened to have inherited one from your dead father, your mansion.Įnter Helena. Nick enters the vacant mansion much in the same way we did in the opening scene. He departs his father’s funeral in his BMW, makes a quick call on the most enormous portable phone you’ve ever seen, and proceeds to his inheritance. Flash forward thirty-or-so years, and Nick has become a windswept waif of man, his speech is delivered delicately in sighs. The boy, Nick, will spend the remainder of his life pathologically attempting to meet his father’s approval. “Hard work and persistence will get you anything in the world,” says a friend of the family to him, reciting the Cavanaugh family motto, projecting the boy’s father’s success and renown. There is a little boy attending the affairs, inquisitively peering in to each room. The composition centers on what is an obvious replica of the Venus de Milo, and the title card fades in afore it in this manner, Boxing Helena’s deceptively rich virtues are made apparent. As with any other museum, we are not to touch its contents, only to view and acknowledge their great beauty. The mansion is filled with guests in formal attire, and replete with art of considerable value. We coast through the foyer and adjacent rooms of an enormous mansion, privy to some elaborate party.
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