A British investment broker inherits his uncle's chateau and vineyard in Provence, where he spent much of his childhood. He discovers a new laid-back lifestyle as he tries to renovate the estate to be sold.
In Queens, Mike Keegan is celebrating with his wife Ellie, his son Tommy and friends his recent promotion to detective in a precinct in Manhattan. Meanwhile, in a fancy club, the socialite Claire Gregory witnesses the murder of the owner of the place by the powerful mobster Joey Venza. Mike is assigned to protect her in the night shift in her apartment in Manhattan. When Venza threatens Claire, the contact of Mike with Claire gets closer and conflicts him, dividing between the love for his family and the heat passion for Claire and the fascination for her world. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The movie was filmed around December 1986 and January, February and March 1987. See more »
The newspaper which Mike is carrying on his way to his first shift guarding Claire has the word "SUPERMEN!" on the back page. He is carrying an identical newspaper three or four days later. See more »
Det. Mike Keegan:
Hey! We got food back there, you know; all right? Hey, thanks for comin' - good to see ya. Come on in, get a drink. T.J...
Det. Mike Keegan:
Set 'em up with a drink.
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Tuant romantic thriller - equally stylistic and atmospheric
A highly stylized crime thriller that also manages to work as a tale of adulterous romance in addition to an effective parable of the culture clashes that are apparent between the upper and lower classes. This is a film with multiple agendas, and Ridley Scott, best known at the time for 1979's ALIEN and 1982's BLADE RUNNER, is frankly an odd choice to direct such a picture. However, Scott proves himself to be up to the challenge, and film plays like a slightly abstract dream that isn't afraid to crash down into gritty realism on occasion. With his film noir skills perfected with BLADE RUNNER, Scott turns the focus from the future to an equally idealized version of the present (well, 1987 to be exact), but he maintains the same sense of visual menace and harsh industrialism.
Tom Berenger has received a considerable amount of criticism for the irritating fake Brooklyn accent he delivers his lines in, but I overall I found him to be quite acceptable in the role. Even better is Mimi Rogers, who convincingly portrays the detached loneliness of the high society lifestyle without the benefit of screen dialogue that permits her to openly address such an issue. Jerry Orbach and John Rubinstein are also memorable supporting parts, but it is Lorraine Bracco who steals the picture as Berenger's feisty wife. Long before she was best known as Tony Soprano's psychiatrist, Bracco brought to the screen the ultimate portrayal of the modern wife and mother - loving but fierce, tough but compassionate, and not afraid to slap some sense into the man who has done her wrong.
And I love Sting's opening rendition of the title Gershwin classic.
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