Sex scene in history of violence

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Sign In. Edit A History of Violence Showing all 32 items. During an interview, Viggo Mortensen stated that during the shooting of the first bar scene with Ed Harris he could not stop laughing, and as a result, the scene had to be re-shot several times. Due to Viggo Mortensen's behavior, Ed Harris completed the scene without pants; he only wore his underwear, yet this cannot be seen as the bar table impedes our view. Thus, Viggo Mortensen had to act seriously while Ed Harris was not wearing any pants, and this is the scene that is used in the movie.
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Dark Truths of a Killing Love

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A History Of Violence Sex Scenes | Peatix

Cronenberg's dedication to his art is impressive, but of course the entire story, quotes and all, was apocryphal. I checked. Even so, it is a testament to his vision as well as his film's visceral intensity that this fabrication didn't seem totally off the wall. As the mad genius behind freakouts like "Videodrome" and "Naked Lunch," dispatches from the id laden with protuberances, gasping orifices and all manner of goo, Mr. Cronenberg has fashioned some of the more squirmingly repellent sexualized imagery in cinema. If the gross-out factor is comparatively modest in "A History of Violence" it is largely because the director has brilliantly complicated the divide between sex and violence, presenting these two seemingly separate realms as locked in hungry embrace.
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A History of Violence….sort of

It is an adaptation of the graphic novel of the same title by John Wagner and Vince Locke. The film stars Viggo Mortensen as the owner of a small-town diner who is thrust into the spotlight after confronting two robbers in self-defense , thus changing his life forever. The film was in the main competition for the Palme d'Or. The film was put into limited release in the United States on September 23, , and wide release on September 30, Tom Stall is a diner owner who lives in the small fictional town of Millbrook, Indiana , with a loving wife Edie, teenage son Jack, and daughter Sarah.
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A few generalities can be made about this concurrence. I would not go as far as saying that these directors are treading artistic water, but that none of the films represent a major breakthrough in terms of style or theme for the respective director. With Broken Flowers Jim Jarmusch delivers a spruced up with bigger name cast version of his usual deadpan humor and stately visual style. Like Johnston, the experience bears little fruit.
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