An erotic story about a woman, the assistant of an art gallery, who gets involved in an impersonal affair with a man. She barely knows about his life, only about the sex games they play, so... See full summary »
An erotic story about a woman, the assistant of an art gallery, who gets involved in an impersonal affair with a man. She barely knows about his life, only about the sex games they play, so the relationship begins to get complicated. Written by
Michel Rudoy <firstname.lastname@example.org>
Director Adrian Lyne used emotionally manipulative tactics on Kim Basinger during the shooting to elicit the performance he wanted from the actress, which Basinger later criticized harshly. For example, Lyne did not allow Mickey Rourke and Basinger to talk to each other off-set. The two were kept isolated from each other and Lyne would tell Basinger rumors about how Rourke intended to make her like or dislike him so that she would carry that attitude into the scene. Lyne would also offer Rourke performance notes, but Basinger none, in order to unnerve her. In a very unusual and expensive move along these lines, Lyne shot the film sequentially, so that Basinger's actual emotional breakdown over time would be effectively translated to the screen. See more »
Before the waterfront scene Elizabeth does some shopping and has a shopping bag. But when they reach the waterfront the bag and her items are gone. See more »
Every time I see you, you're buying a chicken.
Every time I see you, you're smiling at me.
See more »
There isn't much about this movie that is warm or inviting. The central relationship between Kim Basinger and Mickey Rourke is there to be busted up, but director Adrian Lyne isn't very concerned with the characters anyway--his thing seems to be chilly atmospherics and stylish furniture. Sure, the first sex with the blindfold and ice cubes is tantalizing, but the scene seems chopped short (presumably so as not to offend us prudish Americans!). All the sexual scenes are like that: the clinch, the brief flash of nudity, end of scene. Interest wanes after the viewer becomes satisfied with Basinger's milky beauty and Rourke's handsome panache, but their surroundings are sterile (his apartment, her gallery). There are two or three playful moments (such as the food frenzy in front of the refrigerator), but mostly it's all talk and little action, and unintentionally funny bits like Rourke attempting to get Basinger in the mood by playing Billie Holiday's "Strange Fruit"! ** from ****
25 of 38 people found this review helpful.
Was this review helpful to you?