Evidently, monetary negotiations have become a tad more cutthroat in the age of EAT THE RICH than they were a generation ago, when money was equated with virtue. It's causing amoralists to look back nostalgically to the era of "Pretty Woman," when an honest working girl could go from prostitute to wife in three seconds flat--no class barriers, hidden agendas, or brass knuckles. But now that we're all painfully aware that 1% of the world populace controls 95% of its wealth, things have really gotten out of hand. Even the help are fighting back! We'll probably never know the true identity and backstory of this female protagonist, this mercurial honorary love child of Scheherazade and Machiavelli. A young woman this capable of psychological warfare and subterfuge has to have some heavy lifting precedents! Why, the poor-little-rich-boy protagonist is completely out of his depth, unfortunately becoming the sympathetic character by default. I haven't been this impressed by a dialogue writer in forever. As a radical Marxist, l applaud this literary attempt to right all wrongs by wronging all rights but as a radical feminist, it begs my imagination that a call girl has that level of ruthlessness--she would have been a corporate lawyer by age 25. She also seems to have psychotherapeutical, acting, medical, and acrobatic skills down pat. But then, this is a man writing dialogue for the soulmate of his dreams--a budding female adolescent who thinks, spars, and feints like a man. A worthy opponent who looks fifteen. But would an oligarch's heir reveal that much about his finances to a stranger? Seems naive in the extreme but then losing five million doesn't seem to phase him. In the end--does she just drug him or something more drastic? Does he die or just pass out? What is so personal about Paris for her? Curious minds long to know. In either event, the screenwriter has created a female villain so nefarious as to reincarnate Kahli--that terrifying Hindu goddess of both birth and death. I'm still trying to figure her(him) out. But isn't that the highest purpose of both literature and film--to provoke thought?
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