Helen Hunt ultimately brought The Sessions to life for me. She treats O’Brien with such care, both emotionally and physically, while always maintaining a directness with him that undercuts any potential melodrama. One of my favorite scenes in the film happens right after O’Brien’s first, very brief moment of vaginal penetration. Afterward, he asks, “Did you come, too?” to which she responds, “No, Mark, I didn’t.” I fell in love with the film right then; the innocence of his question and the honesty of her response created more intimacy than most faux-passionate, desperation-filled Hollywood sex scenes could ever hope for.
And that’s the thing about Hunt’s performance. Hawkes, while indisputably great, wouldn’t be half as good in this role if he weren’t playing opposite Helen Hunt. She portrays Greene as confident and self-assured, with no lacy-underweared attempts at sexiness, and with only a tinge of sweetness. This isn’t a film about seduction. It’s mechanical and complicated and wonderful—at one point he has to stop performing cunnilingus because he can't breathe; at another, she goes to the bathroom in front of him with the door open. Though she forges a strong bond with O’Brien emotionally, the goal always lingers: to help him lose his virginity and help him discover new ways to use and appreciate the human body, his own especially. Hunt says as much in an interview with the L.A. Times:
Maybe it all gets blurry near the end for a second … But I think that's life—you can have some errant arrow prick your heart, but these two characters have an intention to keep to their mandate that this all is supposed to serve him. And both of them stick to that, painful as it is.
For all the bodies on display and the frank sexual discussions, The Sessions deals mostly with trust—how to trust that another person can accept our flaws and cracks and insecurities without judgment; that we’re loveable; that it’s okay to need things from people, and to ask for them. In the end, the graphic sex scenes take a back seat to the emotional connections the characters develop with one another. It’s the expressions on the actors’ faces that tell us everything we need to know.
Stephanie Rogers is a Co-Founder and Editor of Bitch Flicks,a feminist film and media site. She has a Master’s in English and Comparative Literature and a Master of Fine Arts in Poetry. Her poems “On the Occasion of Her Annual Disappointment” and “Symphony for Red” were selected for inclusion in the emerging writers anthology Best New Poets (2009 and 2006). Stephanie's work has also appeared in Another Chicago Magazine, Southern Review, Pleiades, Cream City Review, Grist: A Journal for Writers, The Pinch, Third Coast, andMadison Review, among others. Her feminist commentary has also appeared at Ms. Magazine, Shakesville, I Will Not Diet, The Opinioness of the World, Not Another Wave, and The Good Men Project.
Republished with permission.