Kate winslet nude the reader

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The nudity in this film is simply powerful. It is used in the exploration of love between the ever-gorgeous Kate and the young man.

Everything in this scene is perfect. Both are naked, but she is making the power play. From kissing his back to feeling his erection, the sexual tension between the two radiates to the viewer.

As she turns him around, we watch her plant a kiss on him to which he stands frozen like a deer in headlights, before landing a far more aggressive kiss.

Then we can only watch in awe as Kate seductively wraps her arm around his neck and kisses him passionately. Then the naked rage.

We are held back as Kate angrily disrobes, infuriated but not because she is naked. Her nakedness is empowering as she is physically and emotionally exposed.

Kate Winslet in nude scene from The Reader which was released in She shows us her tits and ass in sex scene.

The film tells the story of Michael Berg, a German lawyer who, as a year-old in , has an affair with an older woman, Hanna Schmitz.

She disappears only to resurface years later as one of the defendants in a war crimes trial stemming from her actions as a guard at a Nazi concentration camp.

Although it received mixed reviews, Winslet and Kross, who plays the young Michael, received acclaim for their performances; Winslet won a number of awards for her role, including the Academy Award for Best Actress.

The film itself was nominated for several other major awards, including the Academy Award for Best Picture. In Berlin , after a woman he has spent the night with leaves his apartment abruptly after he has made her breakfast, Michael Berg watches a U-Bahn pass by, setting up a flashback to a tram in In the flashback, as a year-old boy, Michael David Kross feels sick while wandering the streets.

Pausing nearby an apartment building he vomits. Hanna Schmitz Kate Winslet , a tram conductor returning home, cleans him up and helps him return home.

Michael, diagnosed with scarlet fever , recuperates at home for three months, and once recovered, he visits Hanna with flowers to thank her. The year-old Hanna seduces him, and they begin an affair.

They spend much of their time together having sex in her apartment after she has had Michael read to her from literary works he is studying.

After a bicycling trip with Michael, Hanna learns that she was promoted to a clerical job at the tram company's office, upon which she suddenly leaves her home, without telling Michael or anyone else where she has moved to.

As part of a special seminar, the students observe a trial similar to the Frankfurt Auschwitz Trials of several women accused of letting Jewish women die in a burning church when they were SS guards on the death march following the evacuation of a concentration camp near Krakow.

Michael is stunned to see that Hanna is one of the defendants. The key evidence in the trial is the testimony of Ilana Mather Alexandra Maria Lara , author of a memoir relating how she and her mother Lena Olin , who also testifies, survived.

She describes how Hanna had women from the camp read to her in the evenings. Hanna, unlike her co-defendants, admits that Auschwitz was an extermination camp and that the 10 women she chose during each month's Selektion were gassed.

She denied however, authorship of a report on the church fire event as an accident that could not be helped. Hanna's co-defendants then join together in a group lie to blame Hanna for writing the report.

Requested to provide a handwriting sample, she admits the charge, instead of complying with the handwriting test. Michael then realizes Hanna's secret: she is illiterate, a fact she has been concealing all her life.

The other guards who blamed the written report on her are lying to clear themselves. Michael informs the law professor of the favorable fact, but since the defendant herself has chosen to not disclose it, the professor is not sure what to do about it.

Michael, though permitted to visit Hanna, leaves the prison, without seeing her. Hanna receives a life sentence for her admitted leadership role in the church deaths, while the other defendants are sentenced to four years and three months each.

Michael Ralph Fiennes , meanwhile, marries, has a daughter, and divorces. After retrieving his books from his childhood home from the time of his and Hanna's affair, he begins reading them into a tape recorder, which he then sends to Hanna.

Eventually, she begins borrowing books from the prison library and teaches herself to read and write by following along with Michael's tapes.

She starts writing back to Michael, first in brief, childlike notes, and as time goes by, her letters reflect her gradually improving literacy.

In , a prison official Linda Bassett telephones him to seek his help with Hanna's transition into society after her upcoming early release for good behavior.

Since she has no family or other relations, he finds a place for her to live and even a job, and finally visits Hanna towards her release.

In their meeting, Michael remains somewhat distant, inquiring about what she has learnt from her past, to which she replies just "It doesn't matter what I feel and it doesn't matter what I think.

The dead are still dead". Michael arrives at the prison on the date of Hanna's release with flowers, only to find out that Hanna has hanged herself.

She has left a tea tin with cash inside and a note asking him to deposit the money in a bank account to Ilana, whose memoir of her dreadful experiences in the concentration camp Hanna has read.

He tells her about the suicide note and Hanna's illiteracy. Ilana tells Michael there is nothing to be learned from the camps and refuses the money, whereupon Michael suggests that it be donated to any Jewish welfare organization dealing with literacy.

Ilana keeps the tea tin, similar to the one stolen from her in Auschwitz. The movie ends with Michael driving his daughter Julia to Hanna's grave, and telling her their story.

In April Miramax Films acquired the rights to the novel The Reader , [4] and principal photography began in September immediately after Stephen Daldry was signed to direct the film adaptation and Fiennes was cast in a lead role.

She had not filmed any scenes yet, so the studio was able to recast Winslet without affecting the production schedule. Schlink insisted the film be shot in English rather than German, as it posed questions about living in a post-genocide society that went beyond mid-century Germany.

Daldry and Hare toured locations from the novel with Schlink, viewed documentaries about that period in German history , and read books and articles about women who had served as SS guards in the camps.

Hare, who rejected using a voiceover narration to render the long internal monologues in the novel, also changed the ending so that Michael starts to tell the story of Hanna and him to his daughter.

The primary cast, all of whom were German besides Fiennes, Olin, and Winslet, decided to emulate Kross's accent since he had just learned English for the film.

One of the film's producers, Scott Rudin , left the production over a dispute about the rushed editing process to ensure a release date and had his name removed from the credit list.

Rudin differed with Harvey Weinstein "because he didn't want to campaign for an Oscar along with Doubt and Revolutionary Road , which also stars Winslet.

Entertainment Weekly reported that to "age Hanna from cool seductress to imprisoned war criminal, Winslet endured seven and a half hours of makeup and prosthetic prep each day.

Fiennes masters the default demeanor of someone perpetually pained. The sex scenes were shot last, after Kross had turned The film's widest release was at 1, theaters on February 27, , the weekend after the Oscar win for Kate Winslet.

The consensus states, "Despite Kate Winslet's superb portrayal, The Reader suggests an emotionally distant, Oscar-baiting historical drama.

Ann Hornaday of The Washington Post wrote, "This engrossing, graceful adaptation of Bernhard Schlink's semi-autobiographical novel has been adapted by screenwriter David Hare and director Stephen Daldry with equal parts simplicity and nuance, restraint and emotion.

At the center of a skein of vexing ethical questions, Winslet delivers a tough, bravura performance as a woman whose past coincides with Germany's most cataclysmic and hauntingly unresolved era.

Manohla Dargis of The New York Times wrote, "You have to wonder who, exactly, wants or perhaps needs to see another movie about the Holocaust that embalms its horrors with artfully spilled tears and asks us to pity a death-camp guard.

But the film is neither about the Holocaust nor about those Germans who grappled with its legacy: it's about making the audience feel good about a historical catastrophe that grows fainter with each new tasteful interpolation.

Patrick Goldstein wrote in the Los Angeles Times , "The picture's biggest problem is that it simply doesn't capture the chilling intensity of its source material," and noted there was a "largely lackluster early reaction" to the film by most film critics.

Most felt that while the novel portrayed Hanna's illiteracy as a metaphor for generational illiteracy about the Holocaust, the film failed to convey those thematic overtones.

Lack of reading skills is more disgraceful than listening in bovine silence to the screams of people as they are burned to death behind the locked doors of a church you're guarding to prevent them from escaping the flames.

Which is what Hanna did, although, of course, it's not shown in the film. Kirk Honeycutt's review in The Hollywood Reporter was more generous, concluding the picture was a "well-told coming-of-age yarn" but "disturbing" for raising critical questions about complicity in the Holocaust.

At The Huffington Post , Thelma Adams found the relationship between Hanna and Michael, which she termed abusive , more disturbing than any of the historical questions in the movie: "Michael is a victim of abuse, and his abuser just happened to have been a luscious retired Auschwitz guard.

When asked to respond, Hare called it "the most ridiculous thing We went to great lengths to make sure that that's exactly what it didn't turn into.

The book is much more erotic. That's the story. The film appeared on several critics' top ten lists of the best films of Club named it the 8th best film of , [32] and Roger Ebert of the Chicago Sun-Times put it on his unranked top 20 list.

Several writers noted that her success seemed to have made real her appearance in the BBC comedy Extras , in which she played a fictionalized version of herself desperate to win an Academy Award.

In the episode, Winslet decided to increase her chance of winning an Oscar by starring in a film about the Holocaust, noting that such films were often awarded Oscars.

Winslet commented that the similarity "would be funny", but the connection didn't occur to her until "midway through shooting the film That's part of the story and provides something of a backdrop, and sets the scene.

But to me it was always an extraordinarily unconventional love story. From Wikipedia, the free encyclopedia. Theatrical release poster.

Chris Menges Roger Deakins. Release date.

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The young man was only 17 when filming on this movie began. They waited until his 18th birthday to shoot the nude and sexually explicit scenes to avoid any legal entanglements.

He also is a native German and had to learn English or at least his lines for the movie.

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