Laura and Martin have been married for four years. They seem to be the perfect, happiest and most successful couple. The reality of their house- hold, however, is very different. Martin is an abusive and brutally obsessed husband. Laura is living her life in constant fear and waits for a chance to escape. She finally stages her own death, and flees to a new town and new identity. But when Martin finds out that his wife is not dead he will stop at nothing to find and kill her.Written by
Sami Al-Taher <email@example.com>
The use of Berlioz' "Symphonie Fantastique" is appropriate since the piece is a programmatic symphony depicting a young man, under the influence of opium, dreaming that he kills his girlfriend, is executed and ends up in hell. See more »
When Martin is spinning in his office, he is turning anticlockwise. In the next shot, he is instantly turning clockwise See more »
To receive a 15 rating for UK cinema in 1991, the BBFC removed a minute of footage from the opening sex scene, which brought the film in line with the US theatrical version. This same cut version was passed for release on VHS later in 1991. The uncut version, with the longer sex scene intact, was passed for video release in 1992 with an 18 rating, before the film was re-rated for DVD in 2001 in its uncut form with a 15 rating. However the Blu-Ray release features the cut US theatrical print. See more »
Industry standard thriller only raised by Roberts' presence
One of many standard thrillers that were scattered through the late 80s and early 90s, many of which would star Julia Roberts, and which showed her to be more than just the pretty romantic lead. Here she plays a much stronger character, a woman fleeing her abusive husband to start a new life, strong, independent but still skittish, worried that she might be found.
A tale of beautiful but terrified housewife Laura(Roberts) who resorts to desperate lengths to escape the constant fear of her violent and controlling husband martin (Patrick Bergin) in which she lives faking her own death to be able to begin a new life far away. However, finding little peace she is still haunted by her previous life, a life which inevitably catches up with her when her husband discovers she is still alive and attempts to track her down.
Roberts can do the strong independent woman role in her sleep and make it appear effortless - a fact proved later with her Oscar win for Erin Brockovich - and in Sleeping with the Enemy she shows the early talent which would eventually lead her to that Oscar win. Meanwhile Bergin is suitably menacing in a rent-a-villain kind of way, all grimacing and intense staring. He does however have a rather interesting tic a form of OCD- towels all neatly lined up and so on which could have served as a rather effective tension builder had it been given further development.
However the film itself, while entertaining and diverting enough in its' own right, there is still something very standard and formulaic about the plot. For far too much of the film's (admittedly short) 94-minute runtime we seem to be waiting for the film to get going, and the climax arrives far too late and is too short, wasting the tension which has been built up. In addition, Kevin Anderson as Ben, the white knight who should rescue Laura from her fear, just does not seem to gel with the part coming off as slightly creepy himself rather than a hero, particularly in the early half of the film.
Overall Sleeping With The Enemy remains a standard typical early 90s thriller of which there were so many, no better or worse than any of the others. A curio for fans of Julia Roberts wishing to see her earlier career development in an effective performance, but the average plot makes the film a throwaway thriller which could serve for a Saturday evening's entertainment with a bottle of wine, but little more. Reasonable, serviceable but forgettable.
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