Women, Power, & Desire: “Impulse” (1990) & “Body of Evidence” (1992)

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Impact (1990) starring Theresa Russell, Jeff Fahey, & George Dzundza

She’s an undercover cop. Seduced by a fantasy. Trapped in a mystery. Led by a dangerous impulse. It’s easy to lose control. -Taglines for the film

This is a psychological thriller co-written by a woman (Leigh Chapman) and directed by a woman- Sondra Locke (who had a palimony suit against Clint Eastwood while making this film). I learned re: Locke’s and Eastwood’s (turbulent) relationship on a recent ep of the podcast You Must Remember This (hosted by Karina Longworth). Yikes, Eastwood does NOT come out looking good! It was V difficult for Locke (who worked as an actress on Eastwood’s projects) to get funding for this small-budget movie (distributed by Warner Bros). In some ways, it’s ahead of it’s time!

Lottie Mason (Russell) is an undercover cop in the LAPD; she’s tall, blonde, and tough (ONLY trusts in herself). Her boss, Lt. Joe Morgan (Dzundza), has been sexually harassing her; we learn this in an early scene. Her bills are piling up and she is TOO invested in her job. While Lottie is helping an ADA- Stan (Fahey)- set-up a drug buy w/ a witness he needs for a case, they become romantically involved. They have a love scene which is unusual for that era, as it’s mainly re: intense gazes (which build tension).

It’s rare (even today) to see a movie centered on a female cop; it has become common on TV/streaming shows. Impulse is gritty, moody, and Russell is believable as a street-smart/independent-minded woman (w/ a hidden soft side). Lottie’s nights of dealing w/ lowlifes has affected her personal life; her Vice assignments incl. impersonating streetwalkers and junkies. She has mandated therapy sessions w/ Dr. Gardner (Lynn Thigpen), where she admits to having a fantasy of losing control and acting on (darker) impulses. Though some viewers felt it was a BIT slow, I think fans of the noir genre or cop dramas may like it. Both Gene Siskel and Roger Ebert called this “a V good thriller.” You can see it on Freevee.)

Body of Evidence (1992) starring Madonna & Willem Dafoe

An act of love, or an act of murder? -Tagline for the film

An elderly millionaire in Portland is found dead of heart failure handcuffed to his bed; a home video of him and a woman is running in the background. When cocaine is found in his system, and his will leaves $8 million to this woman (his lover)- Rebecca Carlson (Madonna)- police arrest her on suspicion of murder. Her lawyer, Frank Dulaney (Dafoe), succumbs to her charms and they start a (reckless) affair. As new evidence turns up during trial, Frank begins to wonder if he’s defending a murderer. (I saw the R-rated version on Freevee; many yrs. ago, I saw it on cable.)

Frank Dulaney: It’s not a crime to be a great lay!

Robert Garrett: Well, sure. l’d have to have myself indicted.

Body of Evidence is often (negatively) compared to Basic Instinct; shooting began only 2 weeks after that film was released, so the similarities are probably coincidental. However, the huge success of Paul Verhoeven’s film could still have influenced the direction and editing. Madonna met w/ a (real-life) dominatrix, who taught her how to tie someone’s arms behind their back using a belt. Dafoe attended a criminal trial; it was interrupted when several people (incl. the judge and many jurors) recognized him and wanted to talk. This is on Roger Ebert’s 2005 list of his most hated films. If you enjoy comedy podcasts, check out the ep reviewing this movie on How Did This Get Made?

Frank Dulaney: Counsel for the Prosecution has already used this witness to establish the state of mind of the deceased. He opened the can, Your Honor.

Judge Burnham: And I do see worms crawling all around you, Mr. Garrett.

Madonna was the 1st choice to play Rebecca; producer Dino De Laurentiis purchased the script b/c he believed it was the perfect role for her. She has short/platinum hair, V pale (unflattering) makeup, red lipstick, and designer clothes. Madonna personally selected Dafoe as her co-star, BUT they have no romantic chemistry together! As many filmmakers have noted over the yrs, casting is V important. Also, where is the development of the characters!? Frank seems eager (quite early on) to do what Rebecca prefers. In one of the (later) steamy scenes, Dafoe looks hesitant (as if performing a chore). Madonna’s acting coach quit just before production began, claiming that “she thinks she knows everything.” As this movie will show, she is a V limited actress. The dialogue given to her is NO help at all! The movie’s (German) director, Uli Edel, said Madonna refused to be directed in the sex scenes. She insisted on pouring (real/hot) wax on Dafoe’s chest in (perhaps the most controversial) scene- ouch! To y’all younger gen viewers, little of this content will look daring.

I was too young to know better. It was the first time I’d been asked to get naked and it turned out to be completely extraneous and gratuitous. Ugh. It was a terrible film and a terrible performance by me. It was about nothing, and I didn’t need to be doing it. -Julianne Moore

Joe Mantegna (who plays prosecutor Robert Garrett) said filming the courtroom scenes was so tedious that 2 extras (jurors) fell asleep during Dafoe’s closing statement. Mantegna (always reliable) yelled at them to wake them up- LOL! The director doesn’t know how to make the trial visually interesting. The judge has lines which (in retrospect) are sassy/funny. Anne Archer does OK what little she is given. A young Julianne Moore plays Sharon (Frank’s wife); she runs a successful restaurant and is mom to a preteen son (seen in just one scene). Moore (who can tackle any role) later said she regretted taking this on; she was then new to movies. Frank Langella has a small/pivotal role as a man from Rebecca’s past. One of Madonna’s besties (actress Sandra Bernhard) was heard laughing at the premiere, commenting: “This is not a serious movie!”

[1] It is both as bad as you remember it, but somehow endlessly entertaining.

[2] The movie goes from the ridiculous to the sublime and every thing else in between, and by the time the movie is over, you feel like you went over Niagara Falls on a surf board.

[3] The courtroom and crime scenes is just background to what the movie is, Madonna in the bedroom.

[4] …might have been much more fun had it the slightest sense of humor. Alas, all the laughs here are unintentional, and the straight-faced actors just end up looking foolish. […] For camp-addicts, a hoot; all others beware.

-Excerpts from IMDb reviews

“The Outsider” (2002) starring Naomi Watts & Tim Daly

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Have y’all seen anything on Freevee? A few weekends ago, I came across this movie (which originally aired on Showtime). The Outsider (based on the novel by Penelope Williamson) is a Western/drama/romance set in the late 1880s; it was filmed in Australia. It is centered on the (forbidden) love btwn a widowed mother, Rebecca Yoder (Naomi Watts), from a (Mennonite-like) group and a gunslinger, Johnny Gault (Tim Daly), who she takes into her house after he is shot. Noah (Keth Carradine) is Rebecca’s friend/neighbor; he is a widower w/ a teen son. The community’s doctor is played by his (real-life) older brother, David Carradine. Fans of the LOTR trilogy will recognize the main villain, Mr. Hunter (John Noble- a veteran Aussie actor). The director (Randa Haines) has worked on several critically-acclaimed films.

This is NOT the typical (shoot ’em up) Western, though there are scenes of action. The scenery is V nice, though the sets, costumes, etc. are simple. Rebecca’s community members are called “the plain people” and they avoid confrontation and violence. In an early scene, we see what lead to the death of her husband. The townspeople try to take advantage of this peaceful community sometimes. The worst one of all is Mr. Hunter, a powerful/feared man who wants to expand his land holdings. About a year later, a man dressed in dusty/dark clothes stumbles onto her land w/ a bullet lodged in his gut. Quickly, Rebecca and her young son (Benjo) take him into their log cabin. Rebecca is shocked when she unwraps the guns, knives, and bullets that this man carried on his person. We wonder if this is a good man or one that is a criminal (who could cause her harm)! The doctor removes the bullet and predicts that the outsider will die soon. However, Rebecca is NOT convinced; she prays for his life and helps him recover (going out of her way).

Why would anyone want to cover up something so beautiful? -Johnny asks Rebecca (who covers her hair)

After a rocky start, Rebecca and Johnny get to know each other as he heals. She’s pleasantly surprised to know that he knows the Bible. Johnny appreciates her humor and humanity. Rebecca is more of a spiritual person; her view of religion consists of everything around her. When Johnny is chastised for playing music, he is playful/teasing w/ Rebecca, not angry. It turns out that Rebecca loves music, BUT it’s not allowed by her people. Rebecca is attracted to Johnny b/c he appreciates who she is. Yes, there are (typical) tropes you find in romance novels, BUT there are scenes that feel fresh and non-cliched. Even today, there are NOT many movies that focus on women’s desire! Watts (who is an Aussie) would go on to some big roles; she always gives a fine performance. Daly (an American; then known for light/comedic roles) gets to show his versatility. They have great chemistry together!

[1] Every so often, a movie comes along with an inspiring cast, a beautiful setting, dialogue that sounds like people talking, foreshadow that makes sense and characters that emote deep sympathy.

[2] For anyone that loves reading a good romance novel, this is the movie for you. […] Sexy, intelligent, believable characters, and a smoldering chemistry…

Tim Daly is fantastic in this film. …his character has a variety of facets which are explored in a realistic way.

[3] Tim Daly – who I had always considered as an actor in light comedy – was extremely impressive as a dark, possibly evil, character. In a movie that could have been just a mixture of Shane/Witness, it brought something new and impelling. It made you care…

-Excerpts from IMDb reviews

April 2023: Three Upcoming Streaming Series

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April 13th: Obsession (Netflix) starring Richard Armitage, Charlie Murphy, Rish Shah, & Indira Varma

A man’s desperate obsession and scandalous love affair. He is a man who appears to have everything: wealth, a beautiful wife and children, and a prestigious career. But his life lacks passion, and his aching emptiness drives him to an all-consuming, and ultimately catastrophic, relationship with his son’s fiancée.

I have been hearing re: this miniseries (total of 4 eps) on Twitter for several wks. now. As some of you may know, I’m a long-time fan of Richard Armitage. This show is based on the novel Damage by Josephine Hart. If you’re interested to know more, check out the 1992 Louis Malle film Damage starring two FAB actors- Jeremy Irons and Juliette Binoche. Miranda Richardson and Rupert Graves have strong supporting roles. In Obsession, William, is a medical doctor (surgeon); Irons played a PhD/politician. William’s 20-something son, Jay (Rish Shah), has a South Asian (or British Asian) mother played by Varma. Jay’s fiancee Anna (Murphy) is British; Binoche was French. I read an article which noted that BDSM elements (found in the novel) will be explored in this miniseries; you won’t find that in Malle’s movie (perhaps due to the more conservative nature of entertainment in the early 90s). You can watch the trailer here.

April 21st: Dead Ringers (Amazon Prime) starring Rachel Weisz

The Mantle twins, identical from head to toe, are on a mission to change the way women give birth, starting in Manhattan.

Wow, an international star (Weisz) is doing a streaming show! This is a 6 ep series which centered on twin sisters (Beverley and Lesley) who are M.D.s (gynecologists) in NYC. They have a codependent relationship and quite different personalities. In the 1988 David Cronenberg movie of the same name, the characters were male (played by Jeremy Irons). From what I’ve seen, this may NOT be the show for more sensitive viewers. You can watch the trailer here.

April 30th: Fatal Attraction (Paramount+; Amazon Prime) starring Joshua Jackson, Lizzy Caplan, & Amanda Peet

A deep-dive reimagining of the classic 80’s thriller, exploring timeless themes of marriage and infidelity through the lens of modern attitudes toward strong women, personality disorders and coercive control.

Who doesn’t know something re: the (iconic) 1987 erotic thriller!? This is an 8 ep series which expands upon the movie (starring Michael Douglas and Glenn Close). Dan Gallagher (Jackson) is a middle-aged man married to Ellen (Peet); they have a young daughter and have a V comfy life near NYC. Alexandra Forrest (Caplan; recently seen in the Hulu series Fleishman is in Trouble) is a slightly younger single/career woman in NYC. Dan and Alex meet (via work) and decide to have an affair; this will (of course) have serious consequences. The series will delve NOT only into Dan’s POV, but also that of Alex (who is possibly struggling w/ mental health issues). The same title font is used here as in the original film; we hear a few of the (famous) lines in the trailers. Here is the teaser trailer. You can watch the full trailer here.

#Oscars: “Tar” (2022) starring Cate Blanchett, Noemie Merlant, Nina Hoss, Sophie Kauer, Mark Strong, & Julian Glover

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Set in the international world of Western classical music, the film centers on Lydia Tár, widely considered one of the greatest living composer-conductors and the very first female director of a major German orchestra. -Synopsis

Lydia Tár: Don’t be so eager to be offended. The narcissism of small differences leads to the most boring kind of conformity.

Conductor/composer Lydia Tár (Cate Blanchett), the first female principal music director of the Berlin Philharmonic, is at the top of her game. She is known as a trailblazer in the male-dominated classical music world. Lydia prepares for the release of her memoir while tackling work and family. She is preparing for one of her biggest challenges: a live recording of Mahler’s Symphony No. 5. However, forces she can’t control chip away at Lydia’s facade, revealing her dirty secrets and the corrupting nature of power. At the 95th Academy Awards, Tár received 6 noms: Best Picture, Best Director, Best Original Screenplay, Best Actress, Best Cinematography, and Best Editing.

Lydia Tár: You want to dance the mask, you must service the composer. You gotta sublimate yourself, your ego, and, yes, your identity. You must, in fact, stand in front of the public and God and obliterate yourself.

Writer/director Todd Field wrote the film specifically for Blanchett and wouldn’t have made the film w/o her; they previously planned to work on a different film that Field could not acquire financing for. Focus Features told Field that they would produce any film that he wanted as long as it was at a certain budget. Blanchett had to re-learn the piano, learned how to speak German, and learned how to conduct an orchestra for the role. Scenes of the orchestra playing are 100% real; Blanchett was actually conducting the Dresden Orchestra. Hungarian pianist and professor at the Hungarian Academy of Music, Emese Virág, helped Blanchett prepare for her role. To bring Tár’s (carefully cultivated) speaking voice into being, she listened to recordings of Susan Sontag.

Lydia Tár: Unfortunately, the architect of your soul appears to be social media.

Is this a real person!? You wouldn’t be alone in wondering this, like my friends and I did when we watched it (Amazon). Near the start of the movie, Tár (who is fictional) is interviewed by Adam Gopnik, a New Yorker reporter, in a V long scene supposed to be taking place at the mag’s annual festival. Her book is being published by Nan Talese at Doubleday. Tar’s suits are tailored by Egon Brandstetter, who plays himself. Even the young Russian cellist, Olga Metkina (Sophie Kauer), is played by a British-German musician who recently got into acting.

The very first scene we shot was a post-rehearsal scene… at the Dresden Philharmonie that’s supposed to be after the very first rehearsal that we see of the Mahler. It was the three of them, it was Cate Blanchett, Nina Hoss and Noémie Merlant, and I remember that first take, and it just, it took my breath away because that’s a part of filmmaking… It’s the magical part of filmmaking. It’s beyond the camera, it’s beyond the lighting, it’s beyond your lens choice, it’s beyond all of – art direction, everything else. It’s human beings in front of a camera that can do MAGICAL things. And that part of it felt like a long overdue homecoming. -Todd Field, on returning to feature filmmaking after 16 yrs.

Can you separate the art from the artist? During a lunch convo btwn Tar and her mentor/friend Andris Davis (Julian Glover), he mentions several real conductors: James Levine, Charles Dutoit, and Wilhelm Furtwängler. In 2017, Dutoit was accused of multiple sexual assaults over several decades; he resigned as artistic director/principal conductor of the Royal Philharmonic. In 2018, the Met announced that James Levine, their principal conductor since 1972, had been fired in the wake of multiple sexual assault allegations and investigations. Wilhelm Furtwängler was principal conductor of the Berlin Philharmonic (1922-1945); though he made symbolic nods toward independence, he was the most prominent conductor to remain in Germany during the Nazi regime and was known as Hitler’s favorite conductor.

She’s always been a key reference for me. I like to re-watch my favorite scenes of hers, sometimes right before I shoot a scene myself; not to copy her, just because it gives me energy. Working with her was mind-blowing. -Noemie Merlant

This film looks and sounds authentic; the viewer is taken (perhaps too deep) into the world of classical music. It’s obvious that Field was given a LOT of freedom to make his vision come to life. Yes, it’s V long (as w/ most movies lately); I think this is one of it’s few weaknesses. Blanchett continues to impress; she can truly play any role! All the supporting players do a fine job; the acting is subtle and realistic IMO. Merlant (who is French) continues to be one of the young’uns to watch; I think she did FAB in Portrait of a Lady on Fire (2019). I got a kick out of seeing Mark Strong (wearing a hairpiece) playing a wealthy businessman who is an insecure conductor. FYI: He is still my fave Mr. Knightley.

[1] Tár is a dense film. Thick with dialogue and emotional power. It’s also a bit tricky to get in to and might be a bit much for the casual viewer. That’s a shame though as it’s great.

[2] I seriously doubt that I’ll ever skip a Cate Blanchett movie. She’s won two Oscars and has been nominated six times. She’s consistently the best part of her movies, and often the best in a full year of movies. […] Ms. Blanchett is fascinating and mesmerizing to watch. She is at the top of her game playing a perfectionist who is at the top of her game. However, it’s clear this film isn’t likely to strike the right notes with mainstream audiences.

[3] The central topic emerges rather quickly (abuse of power), but there are diversions which support character development, yet drag on the narrative, which is probably why many reviews here find the film frustrating. […] Field expects viewers to interpret a lot on their own, which is bold and demanding, but with this approach it is crucial to keep focus on an underlying message, otherwise it gets lost. […] In conclusion, “Tár” has all the ingredients for a masterpiece – interesting characters, great performances, nice camerawork – but weak storytelling ultimately reduces the film’s potential.

[4] Near perfection from Blanchett. It’s a steamy, slow burn with a massive payoff, even at 150+ minutes. Cate Blanchett’s range of emotions exhibited through her acting is superb. The closeup orchestra rehearsal scenes are extraordinarily insightful for those who maybe have never been a part of a performing ensemble.

-Excerpts from IMDb reviews

“Gunshy” (1998) starring William Petersen, Michael Wincott, & Diane Lane

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Jake Bridges: [narrating] I always wanted to be close to dangerous guys. Even wanted to be a dangerous guy. Truth is, didn’t know what I wanted.

After losing his job at a NYC magazine and finding his gf in bed w/ a younger man, a depressed writer named Jake Bridges (William Petersen) goes on a drinking spree in Atlantic City, NJ. At a seedy-looking bar, Jake gets argumentative w/ a tough/beefy patron (played by singer Meat Loaf). The fight turns violent fast and continues out on the street. Suddenly, a stranger comes to Jake’s rescue! This man is an enforcer named Frankie (Michael Wincott); he takes Jake to his house. Luckily for Jake, Frankie’s gf Melissa (Diane Lane) is a nurse. Frankie wants to become book-smart; in return, he’ll teach Jake how to be street-smart. Jake even gets a bit of a makeover (w/ a tailored suit). Soon, Jake feels himself drawn into Frankie’s (criminal) world and falls in love w/ Melissa. Jake also gets inspo to write- again!

Frankie: A man once told me that the only thing you really own is a piece of ground the size of your shoes.

Perhaps you are fans of the 3 leads, who were NOT then big stars at that time. Petersen (best known as the lead on the CBS drama CSI) had appeared in 2 big films- To Live and Die in L.A. (1985) and Manhunter (1986). Those of you (near my age) may know him from Young Guns II or as Reese Witherspoon’s dad in the teen drama/thriller Fear (1996). Lane was having a lull in her career (which I don’t understand); I think she does a good job w/ what she is given here. She’d soon receive critical acclaim for roles in A Walk on the Moon (1999) and Unfaithful (2002). A character actor (playing tough guys/villains), Wincott had a key supporting role in Jordan Peele’s latest movie- Nope (2022). Wincott plays a cinematographer obsessed w/ getting the perfect shot.

Melissa: What can I tell you about men? They want you to be their daughter, their mother, their addiction. They want you to want them, and then they don’t want you anymore.

This is for those of y’all who want to dive deep into the film noir genre. You can see this low-budget indie for free (Crackle or Plex). The video was pausing for me on those apps, so I rented it (Amazon). There are tropes found in noirs of the ’40s and ’50s, BUT w/ ’90s attitudes and modern language. The locations/sets are (usually) bleak and darkly lit. Some of the dialogue is predictable, BUT some of it still comes off as fresh. From what I read/heard, viewers esp. liked the scenes btwn. Petersen and Wincott (where they read/discuss the classic book- Moby Dick). We see that Frankie possesses some good qualities that Jake lacks. The movie blurs the distinction btwn hero and villain. There is also a plot twist after the hour mark.

[1] Well acted and with solid dialogue, the film has a few cliched moments, but they are ultimately forgivable in the end.

[2] The plot, too seems somewhat contrived in bringing together Petersen and Wincott as friends, but somehow the whole is better than the sum of it’s parts. Once Wincott enters, it is an engaging though flawed piece with good action sequences. With more care in the scripting, this could have been a really good film but as it is, well worth a watch.

[3] The film may seem dated at the beginning, but follow the story and you’ll be surprised, and pleased. The editing is clearly 1998; if it were shot and edited today, it would probably be smoother, and a bit more coherent. There are pieces of the soundtrack that are very pleasing, but mostly too 90’s in style. The movie probably would be a terrific re-make…

-Excerpts from IMDb reviews