Masquerade

A handsome gigolo (Rob Lowe) charms his way into the life of a beautiful young woman, heiress to a multi-million dollar fortune. After the loss of her mother, she lives with her selfish and domineering stepfather, a ruthless cad intent on controlling both his stepdaughter's inheritance and her relationships. The local police officer also shows emotional interest in the heiress, having known her since childhood. But who can she really trust?

'Masquerade' was filmed around the time of 'Bad Influence' and Rob Lowe's scandal --- a sometimes underrated actor who, for a while, was typecast as the bad boy (see 'Waynes World', 'Tommy Boy' and 'Austin Powers'). Lowe has nevertheless proved his versatility as an actor with leading roles in films such as Stephen King's 'The Stand' (a deaf mute), Frank and Jesse (as Jesse James) and Stephen King's 'Salems Lot' (2005). He adopts the role of deceptive gigolo with veritable ease, appearing simultaneously charming and devious. It is the script that inevitably lets the film down.

In short it is a dark and moody thriller, which focuses on the themes of money and greed, trust and betrayal. It is reasonably-paced and contains a multitude of twists and turns, though could be a bit more lively in places. Furthermore, it boasts a talented supporting cast that includes Meg Tilly, Doug Savant, John Glover and Kim Cattrall.

Matthew J Lee-Williams, Review.

Masquerade is a psychological thriller which aspires to be a 1980s Hitchcock rejuvenation, and thanks to nice pacing and delicate acting, it largely succeeds for two thirds of a movie. The writers, Larry Brody and Dick Wolf, combine a knack for the clever with an inclination for the soapy, but fine direction by Bob Swaim keeps it together. At times, the film is confidently elegant, almost timeless, set in the idyllic Hamptons on Long Island and shot in a colour palette which almost convinces us of its Hitchcockesque affinity. Much of the trick is the combination of raw beauty and talent in the lead roles. Compared to today's over-glossed, photoshopped young stars, it's a delight to see Meg Tilly and Kim Cattrall stripped to the bone (both literally and metaphorically). Tilly revels in her role as the naïve, dreaming Olivia. By her side, a stunningly good-looking Rob Lowe is all right for the part - veiling his performance as the title suggests.

While Masquerade may have resembled something from Hitchcock's hand for an hour or so, the final part is more like something out of Dynasty. Whether it was the 1980s disease or just bad judgment, the writers go over the top with plot twists, and we start thinking about logic instead of being seduced by the initial playfulness. The final climax, which is particularly stupid, was arguably the main reason for the many bad reviews this film received, but if you're willing to ignore that, Masquerade is as enjoyable and perceptive as any film in the psy-thriller genre.

Masquerade is a really good Hitchcockian type of thriller, a combination of Suspicion and The Heiress in which sisters Joan Fontaine and Olivia DeHavilland brought aspects of Meg Tilly's character in their Oscar winning performances. It was shot on location in the ritzy Hamptons of Suffolk County, in fact the plot is about the haves and have nots of the area. And that's an area where the haves have PLENTY.

One of those haves is Meg Tilly heir to a $300,000.000.00 fortune. She's a nice kid who properly wonders whether the men who court like her for her or bank account.

She's got one leach of a stepfather in John Glover, a character you just love to hate. But by the terms of her mother's will she can't get rid of him until she's 21. And he's a guy who's used to a very high lifestyle.

Tilly's also got two men in her life. Local boy Doug Savant whose father works in the shipyard on the yachts of the rich and famous who has joined the town police force. He's been crushing out on her since he was a little kid. But the Hamptons do have their own caste system.

And then into her life comes Rob Lowe, the handsome and mysterious stranger who captains Brian Davies yacht and on the side kanoodles with his wife, Kim Cattrall. He puts the moves on Tilly and since its Rob Lowe, who could blame a girl.

Tilly's the innocent here, that's a constant, but as the story continues and several murders take place, she doesn't know who to trust. You won't know because the plot takes several twists and the motives of the persons in the cast change over the course of the film.

For those of you Rob Lowe fans of both genders you can have ample opportunity to see him in several stages of undress with Kim Cattrall and Meg Tilly. He's also got an interesting scene with Doug Savant who looks pretty good himself that takes on some homoerotic overtones. What beautiful children those two would have if possible.

The title Masquerade refers both to the name of the Tilly family yacht and the fact that except for Tilly, a lot of these characters are not as they appear on the surface. Masquerade is a really good thriller of a film, don't miss it when it is shown.

I just read a review that said, basically, that this movie had too many questions. Don't get the wrong idea by reading reviews (even mine--we're all biased): this movie means to keep you guessing. Don't worry--it doesn't leave you confused at the end. It wraps everything up tidily, and ends in a believable fashion, but all through the movie, you never know who is really the bad guy. This is an intelligent, highly underrated movie. It's one of my favorites.

Okay, could Rob Lowe be more naked in more movies? That said, this isn't bad it all. It's very Dick Wolf in the incredible number of switchbacks the storyline endures, but essentially compelling and capable of retaining surprise. The end is ham-handed at best, and Jennifer Tilly is essentially a cardboard cut-out good girl with her little lace collars. Both Rob Lowe and Doug Savant are competent and almost complicated as prominent figures in the heiress' life. Rob Lowe is perfect for the role, although the director doesn't make the most of either his complexity or his simplicity, whichever way you choose to see it. Doug Savant is especially sharp, but his character's emotional motivation is never clear and the extent of his involvement remains murky. (For example, did the mother die accidentally or on purpose?)