Guilty Pleasures chronicles three women’s relationships with the saucy book production line that is Mills and Boon. But, asks Mathilda Gregory, why did the documentary makers misrepresent the publishing empire by means of one, unrepresentative, male writer?
Guilty Pleasures, screening in London tomorrow as part of the Birds Eye View film festival, is a documentary about the all-conquering, international romance publishing colossus Mills and Boon.
Directed by Julie Moggan, who will be participating in a question and answer session after tomorrow’s showing, it follows the lives of three women, one in the UK, one in India and one in Japan, as they delight in their love of the novels; reading excerpts of their favourites in voiceover as we see revealing glimpses of their lives and the men in their lives.
One woman is in the process of reuniting with a hapless ex, one was saved from a violent relationship by a tool-belt obsessed, self-proclaimed ‘man’s man’ and finally, our Japanese heroine used ballroom dancing – inspired by her love of regency romances – to try to enliven a lacklustre relationship.
The choice of these very different women, united under one banner – their love of Mills and Boon novels – is inspired and charming.