Liaison fatale

A white-knuckled "don't-let-this-happen-to-you" thriller that vividly demonstrates what can happen to a guy when he lets other parts of his anatomy do his thinking for him. Manhattan lawyer Dan Callagher (Mike Douglas) has it all: successful career, attractive wife, nice dog, an d a loving daughter. So why not have an extramarital fling with a woman he met at a party while the family is out of town? Sure. Just a one-night stand. No harm, no harm done. But there's something very nasty about Dan's partner in crime, because blonde Alex Forrest (Glenn Close) may have all the right moves in the sack, but she also has an elevator that doesn't go all the way to the top. So when Dan wants to shake hands and part company, Alex will have none of it, and the table is set for a one-way ticket to Looney Land...

The moral is very simple: human beings are fragile. Leading on a single female as Dan Gallagher does in this movie can result in drastic consequences. Human beings are controlled by emotions: laughter, sadness, etc... Therefore, someone in Dan Gallagher's position must realize that inviting a single young lady to a tête-à-tête in a restaurant harbors relief to her solitude and brings her into a fantasy-life. On the other hand, Alex Forrest is attractive, relatively young, cultured, and intelligent. She definitely will find someone, but I still understand her reluctance to let Dan go. Overall, this is an fantastic suspenseful edge of your seat thriller type of movie, which can also be seen as a pioneer of films of this sort. No film hit the subject of cheating quite like this.

Overall rating: 9 out of 10.

... so says Tom Hanks in 1993's "Sleepless in Seattle" to his son in reference to this movie and comparing its outcome to a strange woman who has been writing the widower (Hanks) as a result of him appearing on a radio show. But that's another movie.

The point is, its lesson was still easily recognizable in popular culture six years after it was made. What looks like an easy lay with a beautiful single woman can easily turn into an object lesson on Murphy's law. Dan Gallagher (Michael Douglas) is a successful NYC attorney, and on a weekend when his wife and daughter are away from home at his in-laws' house, he has a work meeting that includes Alex Forrest (Glenn Close), an editor for a publishing company. This leads to a drink at a bar, and that leads to a passionate one night stand that turns into a two night stand when Alex attempts suicide when Dan tries to leave.

Dan thinks it's over. Alex has seemed to come to her senses. But then she tells him she is pregnant, and no she is having this baby because she is 36 and it may be her last chance. When Dan insists he is not leaving his wife for her, that he does not love her - well, let's just say that the opposite of love is not hate it's indifference, and Alex at first stalks Dan and gradually turns up the heat until his entire family is at risk. The suspense builds until the harrowing end.

The thing is, Dan always loved his wife, subtly played by Ann Archer. She is beautiful, supportive, and he still has passion for her. They have a little girl and are a very happy family. But he just could not say no to what looked like a one night adventure that nobody need ever know about that turns into a nightmare.

There is more to the film than the cautionary "Don't cheat on your wife" message. I think it's because Glenn Close does such a fantastic job playing Alex. There's something about her portrayal that, to me, paints Alex as ultimately powerful, not just outright insane. Until the end she mostly dominates what happens to Michael Douglas' character's life. I think this one has aged well and would still recommend it.

You don't hear much about this film anymore, but in its day, this was the most-talked about movie of the year. It was a 'favorite topic of conversation about the office water cooler' for a number of weeks. At the time, it was a shocker. Nowaways.....who knows? As we become more and more desensitized to violence, sex and profanity, it takes a lot more to shock us.

Still, this movie had memorable moments that have stayed with us who first saw it at the theater 20 years ago. Most of those memorable scenes, if not all of them, involve Glenn Close's character, "Alex Forrest." Man, this is a woman who would not be denied what she wanted: in this case, married man Michael Douglas.

No sense going into all the details. Everyone knows them by now, anyway. Looking back, I think the film was a good lesson for men (or women) thinking about cheating on their spouses and assuming nothing bad will happen as a result. Men may commit more crimes, but that old adage about a "woman scorned" certainly is demonstrated here in spades! Douglas' character, "Dan Gallagher," certainly can attest to that, but he is anything but a sympathetic character. Both actors do a superb job in here, but kudos also to the rest of the Gallagher family, played by Anne Archer (wife "Beth") and Ellen Hamilton Latzen (daughter "Ellen.")

Also, the cinematography shouldn't be overlooked. The widescreen DVD certainly brought out how nicely this film was shot and directed. This two-hour film keeps your attention all the way. The only thing I would change is the language, toning it down a bit. Otherwise, it's a classic thriller and one of the most famous films in the '80s.

Prior to viewing Fatal Attraction I was familiar with the film. I saw clips of it here and there (on YouTube, TV specials), I saw the semi-remake/rip-off starring Beyonce, Obsessed, and I am aware of the huge reputation surrounding the film. There were no surprises.I can imagine being in the '80s, sitting in the theaters expecting a sweeping love story and being overcome with surprise and adrenaline rush when I realized its true nature. In a perfect world that may be possible, but in reality I am forced to be friendly from a distance.

Don't get me wrong, it's a great movie, probably the best thriller from the '80s, but being so immersed in the hype did took away the fun that everyone gossiped about opening weekend in 1987. In fact, Fatal Attraction, was the first of its kind that spawned countless "romantic" thrillers since. It's mystifying to think of the ways the world of thrillers has changed since the origin of the genre, but in other way stayed exactly the same. Same plot formula, same twists, different style, different noise levels. The bottom line is most haven't gotten much better than this.

Glenn Close has said that she doesn't view her character, Alex as the villain in the story. That's typical of an actor playing the antagonist in a film because actors have to justify their characters as human beings to be able to portray them successfully. But I am actually taking the actor's side this time. I felt an enormous amount of empathy towards Alex. She's a lonely woman, she's really lonely, and that's the cause of all her malicious actions that follow. In ways she was the victim. Close embodies Alex, making the loneliness enough for the viewer to link themselves to, but not too much to overwhelm the viewer. When the script calls for Close to be overt, man, does she bring it, though.

My favorite performance, maybe even over Close's, was Anne Archer. Knowing she got an Academy Award nomination prior to watching the film, I assumed she'd get a scene to cry and throw a fit and that's what scored the nomination. She does well in that scene I anticipated, but I think she's exceptional from start to finish. Warm, when need be. Sorrowful, when need be. Douglas is the trio-member who doesn't stick out as often, but when his moment finally comes for the character to shine, you realize he was shining the entire time, we just didn't notice.

The killer aspect of Fatal Attraction is the directing from Adrian Lyne. Lyne layers fear on top of characters, not the plot necessarily, but the fictitious characters themselves. A particularly wicked moment of direction involves a telephone ringing. The telephone is what we're focusing on, but Lyne keeps the audience's engagement with the telephone on whether Archer's character will answer it and what Close's might say to her. Lyne takes his time and builds real suspense that often results in a misleading outburst of intensity. Lyne also makes the intelligent decision to let the sex scenes happen, but not to let them define the film. He puts the characters, the story, and most importantly, the suspense ahead of the raunchy sex scenes.

The film editing is crisp, pinpointed directly at Lyne's vision of the suspense. It keeps the film tantalizingly alive. The film is aided by a piercing score the scorches the suspense volumes louder than it had a right to be. Although moving the story along at a nice-pace is the ultimate intention of the thriller, symbolism can be found such as the shot of Douglas leaving Close's apartment the morning after the affair, adding to the basic, almost-generic message of the film: don't cheat. The ending isn't the original ending, though it's one heck of a conclusion and a heart-pounding thrill fest that shouldn't be controversial. The original ending is a sterling, twisted scene as well, but it's one that's not nearly as exciting as the final ending.

Originality is lacks in Hollywood today, but Fatal Attraction remains as an original roller coaster jolt, which other films have adapted and cheapened to make a few bucks. They know it works with the audience so why not? That being said, the script is really good. The dialogue is coated with richness, while still being realistic (they speak the way people actually speak in the real world). There are tons of twists packed into the screenplay, many of which pay off. The ones that don't work as well feel awkward and downgrade the flick a tad, but nothing that can stop the reputation of the thriller.

Being the first of its kind cannot be easy, but Fatal Attraction maintains the respect and class of it's massive reputation. It's filled with startling twists, great acting, and a director reaching shocking heights of the suspense genre. It's worth seeing for the terrifying finale which has stood the test of time extremely well. As much as I appreciated the technical elements, I wish I wasn't so familiar with it before actually seeing it which would've allowed myself to be swept up in its madness. Maybe this is a flashing light that we shouldn't familiarize ourselves with something so much that it becomes too late to fathom the art in its purest state.

Rating 8.5/10

Grade: A

A married man (Michael Douglas)'s one night stand comes back to haunt him when that lover (Glenn Close) begins to stalk him and his family.

Apparently when this film came out it had some feminist backlash because it appears to show a career woman as psychotic, while the stay-at-home wife is good and subservient. That is one way to read it, but it would be putting meaning in there that probably was never intended.

This is quite simply someone with mental issues going after another person. It has a bit of a morality tale in there, scaring men off of cheating. But there is not much in it about gender. It simple works better as a psychotic woman rather than a man, because a psychotic man with a knife is pretty mundane.