Final Analysis

It might help to explain points of my review by giving some background information.I am a counseling psychologist and psychotherapist,with 20 years experience.Watching this film initially,in February 1992,almost contributed to a heart attack.Whoever did the screenplay to this atrocity hadn't the faintest idea of what constitutes appropriate clinical practice.Dr.Isaac Barr muffs the handling of this case from the onset.One wonders as to how he got through his psychiatric residency,let alone his training analysis,supervised cases,and what was going on in his personal analysis at this time?The pathological antics indulged in in this film would cause anybody else to get into serious trouble BIGTIME with the local psychoananlytic association,the American Psychoanalytic,the American Psychiatric,the AMA,and the State Board of Medicine.People have had licenses suspended for less.Where do we begin the critique?Let's start.A woman enters into Barr's office one night,claims to be a client's sister,and starts pumping Barr for information.He complies with her request.Now wait a darn minute-if I came into the office,claimed that I was the sister(I am 48 years old and have a full beard),would he give me the same courtesy?I seriously doubt it.You never release ANY information without having the client sign a specific release of information,with details as to who the data is going to.Barr could get sued out the wazoo for a stunt like this-and he'd deserve it.Then he and Heather go out to have coffee and discuss the case.You NEVER engage in professional activities outside of the work setting-your malpractice insurance won't cover it,and if something should go awry,won't assume any financial liabilities.Then,Barr and Heather end up making love-but it isn't love.This is not a relationship between equals,it's countertransference getting out of hand.She's extremely vulnerable emotionally(not really,but you're led to think that she is)and it is Barr's responsibility not to exploit a needy person.The onus is on the therapist to respect the boundaries.Barr is acting on his pathologically needy state,rather than reflecting as to what is going on.Dr. Lowenthal,upon being made aware of this situation,should have insisted that Barr re-enter therapy at once,and establish a supervisory relationship pronto.Noncompliance would involve informing the authorities.The Freudian psychoanalysts are very careful about not contaminating a therapeutic relationship,and this involve getting involved with family members of their patients.Barr should have refused to have anything to do with Heather AT ONCE.I wonder if the screenplay writers wanted to do a hatchet job on the psychiatric profession.

A wonderfully twisty unpredictable plot, very appealing actors and beautiful actresses, great music, tremendous suspense again and again - this is a whale of a movie.

Time and again, I was completely bowled over by the plot developments - and the climax is frankly better than any I can think of in any Hitchcock movie outside of The Man Who Knew Too Much.

I just loved it. I really disagree with the previous reviewer about the friendship between the psychiatrist and lawyer - one sees it all the time. Remember Gere is NOT the treating or testifying psychiatrist for any woman accused of any crime - and the friendship between himself and the lawyer is a very common phenomenon in criminal cases. (I've been a lawyer in quite a number of them).

Perhaps the most fascinating - because so wonderfully understated - matter is the change in Gere's morals over the course of the movie - they go to pieces as we find him lying to people, arranging for thieves to hide evidence, etc. yet it's completely believable and interesting.

A friend warned me about this film. "It's not very good" she said. What she should have said was "It's not very good, and it goes on for a long time, and Richard Gere can't change the expression on his face, and there are scenes where you say "doesn't that remind you of....?". There's not much point in discussing details, but some useful tips are revealed. (1) How do you escape from a high security prison hospital? Ans: You walk out with the visitors when they leave. (2) How do you steal/retrieve a heavy dumbbell being carried in a shopping bag by a villainess? Ans: You put her on a tram in San Francisco, with the bag dangling out, and you get in a tram going in the opposite direction, so that as the two trams pass, you just reach out and grab!! So simple. There are better ways of spending 2+ hours than watching this.

A San Francisco psychiatrist (Richard Gere) becomes romantically involved with the sister (Kim Basinger) of one of his patients (Uma Thurman) , but the influence of her Greek controlling mobster husband (Eric Roberts) threatens to destroy them both . The gangster is a tyrant over his wife and he really mistreats her. The psychiatrist wants her to get a divorce, but she is afraid of what her husband would do. Then , things go wrong , that's why she has a medical condition that becomes apparent when she drinks . As she says to have a "pathological alcohol intoxication" which is a true real-life medical disorder that can exist. Along the way , a stubborn police inspector (Keith David) investigates some strange happenings and a prosecuting attorney (Harris Yulin) carries out the criminal accusation. Hot-blooded passion. Cold-blooded murder. Someone was seduced. Someone was set up. And before it was all over... someone was dead.

A twisted , glossy and complex thriller about a psychiatrist and two beautiful sisters playing the ultimate mind game . Resulting to be colorful crime thriller with suspense , emotion , action , twists and turns. Although heavily influenced by ¨Vertigo¨ , this movie never closes to attain the depth of Hitch cinematic masterpiece . Actors are acceptable but neither notable , nor extraordinary , but passable . Kim Basinger is the typical femme fatale who undergoes a dramatic personality change after drinking alcohol , Richard Gere acts in his particular style as the psychiatrist uses his professional pull to try and help her out of the consequences of her actions , while Uma Thurman is Gere's sexually neurotic patient , the latter had also appeared in Phil Joanou's former movie "State of Grace" . Likewise , ¨Final Analysis¨ (1992) was second and final of two cinema movie collaborations of actor Richard Gere and actress Kim Basinger , the first was ¨No Mercy¨ (1986) . Other fine secondary actors appearing are the following ones : Paul Guilfoyle of CSI , Keith David , Tony Genaro , George Murdock as judge , unbilled Eric Avari as narrator and uncredited Harris Yulin as state prosecutor , among others . But it's Eric Roberts who steals the show giving the most gripping acting as Basinger's sleazy gangster hubby.

¨Final analysis¨packs a thrilling and suspenseful musical score by George Fenton. As well as an evocative and brilliant cinematography by Jordan Cronenweth. This neo-noir and neo-Hitchcock film was professionally directed by Phil Joanou , it has success enough , though quickly faded from screens after being steamrolled by other big releases . Phil Joanou is an uneven director with film as ¨Gridiron gang¨, ¨Final analysis¨ and ¨Heaven's prisoners¨. For the latter Phil Joanou was hired by Alec Baldwin , in his role as executive producer who approached Phil Joanou to direct the film based on the suggestion of his then-wife, Kim Basinger , who'd had a good time working with Joanou on ¨Final Analysis¨ (1992). Joanou is a good professional with hits and flops and filmmaker of video-clips and films for U2 (¨Rattle and hum¨). As "Final Analysis" and "Heaven's Prisoners" proved to be critical and financial disappointments , Spielberg and Bono of U2 (separately) encouraged Joanou to write something personal and from the heart, resulting in the extensively autobiographical "Entropy". In addition , Spielberg gave Joanou the screenplay for ¨Three O'Clock High¨ (1987), then known as "After School" and subsequently directing the notable ¨State of Grace¨with a great cast as Sean Penn , Ed Harris , Gary Oldman , among others . Rating : 6.5/10. Acceptable and passable. The flick will appeal to Kim Basinger/Richard Gere/Uma Thurman fans.

This film, if analyzed visually is quite interesting, and the addition of a distinguished Richard Gere and still- beautiful Kim Basinger doesn't hurt, either.

The sets are reminiscent of Hitchcock's "Vertigo"; there is even a scene with violets, right out of Freudian analysis, which Gere translates for his unsuspecting patient.

Uma Thurman is Basinger's younger sister, there is a murder accusation, Eric Roberts as the abusive husband, ends up being murdered. (This part was a bit too formulaic; mob ties again) but Roberts also gives a believable performance.

While you may have to ignore basic logic, if you enjoy the actors, this film is worthwhile. For some reason Basinger is better in under-stated roles, and Richard Gere transcends the material, and is interesting to watch. 8/10.