A married man’s one-night stand comes back to haunt him when that lover begins to stalk him and his family.
Remember the glory (hole) days of erotic thrillers, before the deluge of online pornography rendered them irrelevant? Who can forget the likes of “Wild Things,” “Color of Night,” “Showgirls,” “Striptease,” “Basic Instinct,” “Disclosure”… As it turns out, most of us did forget, and for a good reason — they were duds (although I do have, ahem, fond memories of watching “Basic Instinct” on replay). The notion of witnessing some of the world’s biggest celebrities get it on happened to be infinitely more titillating than any of the so-called “thrills” featured in those films.
One of the pioneers of this sub-genre was Mr. Adrian Lyne, helmer of the steamy, S&M-ish, Kim Basinger/Mickey Rourke drama “91/2 Weeks” — a precursor of sorts to “50 Shades of Grey” (which futilely attempted to resuscitate said sub-genre for the millennial generation). Despite the commercial and critical flop of the feature (it gained a cult following on VHS), Lyne followed it up with another, even steamier (though less S&M-ish) “Fatal Attraction.” It starred Michael Douglas (who went on to dominate the genre) and Glenn Close and became a worldwide sensation, banking over $300 million on a $14 million budget. The film, for better or worse, opened the path for all of the aforementioned “sexual journeys.” So does it still hold up, 33 years after its release?
The answer is yes… for the most part. Michael Douglas and Glenn Close mesmerize as the central duo — he, caught in the dire consequences of a lunkheaded decision; she, exacting increasingly psychotic vengeance on the man that used her. Lyne’s direction is taut, gradually building tension; James Dearden’s dialogue is especially resonant, particularly in the film’s first half. How can one forget the rabbit in the pot — and the ingenious line: “Bring the dog, I love animals… I’m a great cook.” “Fatal Attraction” still functions incredibly well as a cautionary tale about the perils of infidelity.
Less effective is the film’s finale, when all the psychological depth, characterization, and tension that’s been so patiently built up dissipates into a made-for-TV melodrama. It leaves you feeling somewhat cheated, as the preceding 100 or so minutes are so true-to-life, emotionally/intellectually satisfying and visually arresting (1980s hairdos notwithstanding) Thankfully, the misstep, though significant, doesn’t truly blemish the overall picture.
There was much debate in vilifying females in erotic thrillers. Is Lyne to blame for Sharon Stone’s merciless killer in “Basic Instinct” or Demi Moore’s extortionist in “Disclosure”? Are they truly villains, or empowered women, laying their vengeance upon the men that wronged them, getting what they want despite sociopolitical barriers (and some frankly poor filmmaking choices)? I, personally, do not believe that it was Lyne’s intention to vilify the female — rather, he’s vindicating the cheating man. Feel free to discuss in the comments section.
Sex and violence lie side by side in the recesses of our minds. Perhaps that’s one of the reasons erotic thrillers were so popular before porn took over. There were many precursors to this precursor, too, most notably: Brian DePalma’s “Obsession,” “Dressed to Kill,” and “Body Double,” Lawrence Kasdan’s “Body Heat,” Paul Schrader’s remake of “Cat People” and Ken Russell’s “Crimes of Passion.” Yet none of these films — despite some being superior — have had such an impact on international audiences. Akin to a great cinematic lover, Lyne knew which buttons to press, and when to press them. He committed so unabashedly to the psychosis of sex and murder, how the two intertwine — not to mention the soapy aspect of it all — that he made it impossible to look away.
The director went on to make “Indecent Proposal” and “Unfaithful,” two more erotic-dramas-cum-(pun intended)-thrillers (the latter being infinitely more compelling than the former). Yet “Fatal Attraction” – which was nominated for six Academy Awards, including Best Picture, Best Director, Best Adapted Screenplay, and Best Actress – remains the shiniest gem on Lyne’s resume. Bring tissues.
Now available on a Special Edition Blu-ray from Paramount Home Entertainment
