Henry & June

Synopsis: In 1931 Paris, Anais Nin meets Henry Miller and his wife June. Intrigued by them both, she begins expanding her sexual horizons with her husband Hugo as well as with Henry and others. June shuttles between Paris and New York trying to find acting jobs while Henry works on his first major work, "Tropic of Cancer," a pseudo-biography of June. Anais and Hugo help finance the book, but June is displeased with Henry's portrayal of her, and Anais and Henry have many arguments about their styles of writing on a backdrop of a Bohemian lifestyle in Paris.
Genre: Biography, Drama
Director(s): Philip Kaufman
Production: MCA Universal Home Video
  Nominated for 1 Oscar. Another 1 win & 3 nominations.
Rotten Tomatoes:
136 min

It began so innocently. | They said it was strange a woman...

would want to publish a defense | of D.H. Lawrence...

and that his words are considered | an incitement to sex.

- Then he said, "You write about sex... " | - With some authority, Miss Nin.

You must've led a rather free life.


You must've had a lot | of experience.

You know, affairs.

I'm interested in how you came...

to have such insights | into the erotic.

For literature. | Yes, I love Proust and...

I suppose my real awakening | came when my husband Hugo and I...

first arrived in Paris | and rented a bachelor apartment...

for the summer.

One day, I was tidying up.

As I was going through the closets...

where the owner left his belongings...

I discovered...

In that closet...

I became familiar with the endless | varieties of erotic experience.

Come here.

- Hugo! | - I thought you might need a lift.

Are you all right, P*ssy Willow?

- He kissed me. | - What? Oh, my God!

It was just one kiss.

He kisses me once.

Then he caresses all of my body.

He seeks my breasts...

and my most secret, | sensitive part.

His hands are deft.

I'm tempted by unknown pleasures.

When I see that I have let him | be aroused...

I let him release his desire | between my legs.

I just let him...

out of pity.

I tell Hugo...

only part of the story.

P*ssy Willow!

Remember to meet me at 8:00 tonight.

Oh, Hugo, would you mind very much | if I didn't go this evening?

I would mind.

I'm sorry, but all they talk about are | bad loans, trusts or estate planning.

Estate planning can be very creative!

Look, the bank is how we got to Paris.

I need this job and I admit | I sometimes enjoy it. Why not?

Why not?

You're changing into someone else.

You are even beginning to smell | like the bank.

I'm working so you can write.

I need to know people who are alive.

You're not consummating. | You're holding back.

Do it again.

I can't seem to concentrate anymore, | Eduardo.

My life? Sometimes I think | I need something else.

An older man, | a man stronger than I am.

You like to make me suffer.

I've loved you | since we were children, Anais.

But, I've always had a fear that...

I wouldn't be able to.

Look at them. | They're so exquisite.

If I were a man, | I'd be swept away.

They don't move me like you do.

Hell of a place you got here, Hugo. | Peaceful.

Been here long?

- Just since the Crash. | - Since the Crash? How'd you live before?

We lived well.

This is Henry Miller, the American | writer Osborn is putting up. My wife.

- Anais Nin. | - How are you, Anais?

Eduardo Sanchez, Anais' cousin.

Anais, you ought to read Henry's stuff. | He's got it over D.H. Lawrence.

- I'd love to read what you've written. | - Henry hasn't been published yet.

And you're comparing him to Lawrence?

I don't want to be compared to Lawrence. | He would've hated the way I write.

- Henry writes for the man on the street. | - I don't care for his writing.

Anais has been writing a book | about Lawrence.

Perhaps his sexuality | is too strong for you.

Too strong? He's childish. | He's prudish.

The French have been writing | about this. Rabelais, Flaubert!

I can't imagine any modern writer | not to owe a debt to Lawrence.

We should eat.

He makes too much out of sex. | He makes a damn gospel out of it.

To my way of thinking, | sex is natural...

like birth or death.

I'm not interested in literature | or poetry as we know it.

What are you interested in?

- Henry writes about f***ing. | - F***ing?

I'm writing about self-liberation.

- It's definitely about f***ing. | - We should eat something.

Amelia's waiting.

I flipped through more pages, | and I realize...

this is my own novel I'm reading | with some joker's name on it...

written in French, being sold | in the best bookstore in Paris.

- Unbelievable. | - How's that possible?

Remember last year when some guy stole | my briefcase with my manuscript in it?

This guy swiped my manuscript, but what | he doesn't realize is I'll get him.

The souffle is from | an old family recipe.

So this is a souffle!

I hope it's substantial enough.

This joker doesn't know I'll get him | because I'm a copyright lawyer.

I'll go after him | like I went after the other joker.

- The guy who stole your play. | - That's on Broadway.

That's on Broadway... | I told you this already?

About how this guy must've stolen | my play out of my briefcase?

I'd be a well-received writer by now | if it weren't for these jokers.

But I'll get them. I'm not taking | any chances. This is my new baby.

You're laughing at me?

I just feel so good. Wonderful.

What a fine moment we have here. | A free lunch.

Fire in the fireplace. | Wonderful wines.

The colors blue and orange. | It's wonderful! No other word for it.

What do you write, | poetry or something?

Most of my writing | is in these diaries.

No, I never let anyone read it.

I never show it to anyone...

except Hugo...


I always wanted to read The Captive. | La Prisonnier.

I want you to have it.

I'll borrow it. Thanks.

P*ssy Willow!

I used to go to the six-day bike races | we had in Brooklyn.

Yeah, I love bikes.

- But I couldn't take it. | - I want you to have it.

- What will you use? | - I'll borrow yours.

You can't ride a man's bike. | Henry should take mine.

Hey, thanks, Hugo.

That's swell of ya. | I can really use this.

I'll visit.

Come on, Eduardo, I'll race you | back to Paris before it gets dark.

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Philip Kaufman

Philip Kaufman (born October 23, 1936) is an American film director and screenwriter who has directed fifteen films over a career spanning more than five decades. He has been described as a "maverick" and an "iconoclast," notable for his versatility and independence. He is considered an "auteur", whose films have always expressed his personal vision.His choice of topics has been eclectic and sometimes controversial, having adapted novels with diverse themes and stories. Kaufman's works have included genres such as realism, horror, fantasy, erotica, Westerns, underworld crime, and inner city gangs. Examples are Milan Kundera's The Unbearable Lightness of Being (1988), Michael Crichton's Rising Sun (1993), a remake of Invasion of the Body Snatchers (1978), and the erotic writings of Anaïs Nin's Henry & June. His film The Wanderers (1979) has achieved cult status. But his greatest success was Tom Wolfe's true-life The Right Stuff, which received eight Academy Award nominations, including Best Picture. According to film historian Annette Insdorf, "no other living American director has so consistently and successfully made movies for adults, tackling sensuality, artistic creation, and manipulation by authorities." Other critics note that Kaufman's films are "strong on mood and atmosphere," with powerful cinematography and a "lyrical, poetic style" to portray different historic periods. His later films have a somewhat European style, but the stories always "stress individualism and integrity, and are clearly American." more…

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Submitted on August 05, 2018

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    "Henry & June" Scripts.com. STANDS4 LLC, 2024. Web. 24 Apr. 2024. <https://www.scripts.com/script/henry_%2526_june_9866>.

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