"Lipstick's" heart belongs to an earlier, simpler time. It's almost like a training film, but it is effective.For a little while, anyway.
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The only time "Lipstick" is believable is during the trial sequence when Anne Bancroft, appearing as the ferociously determined lawyer for the victim, presents the case not only for Miss Hemingway, but also for all women. "Lipstick" is occasionally violent and crude, and about as controversial as the March of Dimes.The film appears to take rape seriously, though - the kind of rape in which the victim, who hasn't been permanently injured, must overcome the prejudices of a society that always suspects that such a rape victim got what she asked for. The movie's subliminal message: Bring back the clavichord."Lipstick," which opened yesterday at the Loews State 2 and Loews Cine Theaters, was written by David Rayfiel and directed by Lamont Johnson ("The Groundstar Conspiracy," "The Last American Hero"), a shrewd, knowledgeable but not very interesting director, who is touted for his fearless way with controversial subjects. The message of "Lipstick," if I read it right, is less about the physical and legal vulnerability of women than about the sexual hang-ups of eccentric young men who compose music with synthesizers and laser beams. It is, however, anti-intellectual in the ways that B movies always have been. Sean Gage? I'm sure that's what he says, though why "Lipstick" hesitates to drop the name of John Cage, I've no idea.It's certainly not because "Lipstick" is too discreet. Its victim is a beautiful, hugely successful photographers' model, played by Margaux Hemingway, in real life a beautiful, hugely successful photographers' model who also happens to be Ernest's granddaughter.The rapist (Chris Sarandon) is a young man who composes avant-garde music and worships the works of another avant-garde composer, identified in the film as Sean Gage. "Lipstick" is what might be described as a glamour film about rape.
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