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“I was talking about the pleasure centers in the brain, in the body and in the heart. It’s been made somewhat taboo, and at the same time, it’s been industrialized and sold to us like Spam in a tin,” says Thompson. “We find it difficult to be honest about sex. When the script arrived, the role, she says, “struck me in the same way Margaret Schlegel struck me when I was 30,” referring to her Oscar-winning performance in James Ivory and Ismail Merchant’s 1992 period drama “Howard’s End.” Years ago, Thompson made a handbook for her daughter as a guide to discussing sex apart from the way it’s been categorized, warped or minimized by society.
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Thompson has, she says, been thinking about the issues behind “Leo Grande” for years and years. We’re designed to experience pleasure, clearly.” The fact that it outlawed pleasure for the self, for the body, seems to me to be deeply, deeply problematic and a terrible sin, a real evil thing to do to human beings. If you think about the history of masturbation, it’s simply appalling what was done it by Christian faith, and I’m sure other faiths. That’s just extraordinary that one can do that. I never thought that’s the wrong thing to do,” says Thompson. “I’ve always trusted physical pleasure, as long as it felt right in the emotional centers of the body. It’s a startlingly open, probing performance by the 63-year-old Thompson whose screen presence has long exuded, as The New York Times once aptly summarized, “an ironclad sense of self and how things ought to be.” But whereas many of Thompson’s most iconic roles (“Howard’s End,” “Remains of the Day,” “Sense and Sensibility”) have situated her intelligent, empathetic moral clarity in more buttoned-down characters, “Leo Grande” proves she’s just as clear-eyed when it comes to matters of sex and pleasure. “It’s never been: Oh, we really must attend to that.” “Let’s face it, women’s pleasure has never been, as it were, top of the to-do list in present systems,” says Thompson. To Thompson, “Good Luck to You, Leo Grande” is nothing less than revolutionary in its willingness to be candid about topics usually brushed under the covers.