Afterglow

The lives of a has-been-actress, a charming sleazy plumber, a bored housewife and a stressed corporate head intertwined in this low key screwball. If made by studio heads this film would have been hard to swallow, but when handled by the maestro, Alan Rudolph, and starring real actors, it works a treat.

"You're the most fascinating woman I've ever met", he tells her after knowing her for about five minutes. Perhaps that will give you a sense of the sophomoric nature of "Afterglow"; a film which tells of two neurotic married couples, one middle aged (Nolte/Christie) and one younger (Boyle/Miller), and their respective interwoven infidelities. With a solid core cast and good technical and artistic capabilities and an interesting premise, "Afterglow" should have offered more than characters we're not given to care about even if we could suspend disbelief long enough to care. Nonetheless, there's enough going for this mediocre drama to make it a worthwhile small screen watch for sofa spuds with an appetite for the subject.

This movie is destroyed by the screenwriter's inability to finish off any of the main storylines. This movie is destroyed by the director's unwillingness to trust the actors with actual characterization. This movie is destroyed by the cast, who seem to have no idea what their characters are supposed to be doing or feeling at any given moment.

The actors say all their lines as if they are great quotes. ALL of them. ALL THE TIME. I'm up for a mood piece every now and then, but you have to maintain the mood. At least with the altered film-speed sequences in "A Clockwork Orange", you've been prepared to expect some quirkiness of technique. Here, it just looks terribly silly (as does the last ten minutes).

The director might as well have put the camera in front of an aquarium full of horny cuttlefish. You get about two and a half minutes worth of entertainment before it all starts to look the same.

I like Alan Rudolph movies. I always thought of him as Robert Altman Lite.

When I saw "Welcome to L.A." in 1902 (I am exaggerating, but barely), I loved it and it seemed very Altman-like, and even starred some of the Altman-ettes like Geraldine Chaplin and Sissy Spacek. Most of the people were unhappy and if I'm not mistaken, Chaplin spends the whole movie in taxi cabs, taking pictures of the corners of buildings.

When I saw "Choose Me" years later, it had a breezy, jazzy feel to it that I loved. It was about people in love, unlucky in love, wanting more love, wanting love from someone else, etc.

"Afterglow" is a little like both of these movies. It has its jazz soundtrack intact and the people are miserable.

In a nutshell, Julie and Nick haven't had a decent moment together since before they can remember. Lara and Johnny Lee are much younger but also accumulating many bad moments. Secrets are revealed.

Both couples switch mates. They are not that much happier. Both find out about the other. That's it.

Nolte and Julie Christie have some good scenes together, but she has much more chemistry with Johnny Lee Miller, who gives the best performance in the movie by a mile. He nails his role as a yuppie/scumbag perfectly.

The whole thing is way too long. There are unnecessary scenes galore. If it were not for Julie Christie, I would have lasted 20 minutes w/this one. 5/10.

How did this movie get rated 6.9 out of 10? Was Nick Nolte stuffing the ballot box? I agree with all who said it was boring and pretentious, but disagree that Julie Christie did much to help it.