So here we have it, the granddaddy of the psycho-thriller genre and in all respects a more subtle and realistic film than you'd expect from a genre that later descended into cheesy madness and inanity. By the time these run of films had finished – and there are still some B-movies coming out, here and there – we'd had psychotic babysitters, mothers, fathers, children, nurses, co-workers, you name it. But FATAL ATTRACTION is the one that kicked them all off in a wave of popularity, even if there were precedents in the likes of Eastwood's PLAY MISTY FOR ME and the slasher genre. It's a simple story of the archetypal happy family and what happens when the father and husband has an affair with an unhinged woman.
Michael Douglas is on top form as the slightly sleazy family guy who can't resist shacking up with loopy Glenn Close when his wife (Anne Archer) is away. Douglas later found a home in this type of film, menaced by more adulteresses (Sharon Stone) and even his own boss (Demi Moore). Here, though, he's fresher faced and more realistic, with the script making no bones of his adultery and the way he betrays both his wife and child by having an affair while they're away. Glenn Close is frightening in the role that made her name, but I have to say she doesn't cut it as an object of desire – with that hairstyle she looks like a maniac from the outset! The realism of the plot excludes the kind of murderous rampage sequences that later popularised the genre, and it's all the more chilling for it – the suicide attempt scene is far more disturbing than watching a madwoman running amok with a kitchen knife. Then, of course, there's that scene involving the favourite family pet that's rightly gone down in history as one of the most memorable of all time, and a now-familiar shock climax to polish things off. I did find the film somewhat subdued in places where it could have been more thrilling, but that's because it plays it as a character drama for the most part, more interested in getting to grips with Close's psychosis than bumping off a string of inconsequential types.
Michael Douglas is on top form as the slightly sleazy family guy who can't resist shacking up with loopy Glenn Close when his wife (Anne Archer) is away. Douglas later found a home in this type of film, menaced by more adulteresses (Sharon Stone) and even his own boss (Demi Moore). Here, though, he's fresher faced and more realistic, with the script making no bones of his adultery and the way he betrays both his wife and child by having an affair while they're away. Glenn Close is frightening in the role that made her name, but I have to say she doesn't cut it as an object of desire – with that hairstyle she looks like a maniac from the outset! The realism of the plot excludes the kind of murderous rampage sequences that later popularised the genre, and it's all the more chilling for it – the suicide attempt scene is far more disturbing than watching a madwoman running amok with a kitchen knife. Then, of course, there's that scene involving the favourite family pet that's rightly gone down in history as one of the most memorable of all time, and a now-familiar shock climax to polish things off. I did find the film somewhat subdued in places where it could have been more thrilling, but that's because it plays it as a character drama for the most part, more interested in getting to grips with Close's psychosis than bumping off a string of inconsequential types.