Word: lynes
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...taking him to see it 'so he'll never cheat on me.' And he goes, 'Huh-huh' -- this nervous little laugh." Sidney Ganis, Paramount's marketing boss, observes, "There is a fever out there. It is more than a movie. It's part movie, part real life." Adrian Lyne, the film's director, is amazed by its reach: "The movie is almost like a living thing that feeds off the public and takes on new shape." In other words, Fatal Attraction is a monster...
...they leave the movie with golden word of mouth. "I saw a lot of couples looking at each other sideways as they walked out," says Jim Stegall, 35, a Miami ad salesman. "The meaning of that look was obvious: Don't even think about having an affair." Director Lyne says, "I've had men ring me up and say, 'Thanks a million, buddy, you've ruined it for us.' " A Manhattan psychoanalyst told Co-Producer Lansing, "I know the picture is a hit, because out of my seven patients, five have brought up the movie...
...Meyer rewrote some of the scenes involving Dan's family, which Paramount executives had thought insufficiently sympathetic.) Michael Douglas was in on the project early, but Close arrived only after Debra Winger had rejected the role and Barbara Hershey was unavailable. The film began shooting in September 1986 under Lyne's direction. Flashdance had proved that Lyne knew which buttons to push for a multimedia smash, and 9 1/2 Weeks, a flop at the U.S. box office but a hit at the video stores, showed his fascination with the theme of sexual dependency at the borderline of pain and pleasure...
...Pontius Pilate, Steve Lyne adds depth to a one-dimensional Biblical character. He presents Pilate as a weak person who would like to save Jesus but doesn't have the strength of character to withstand pressure from the crowd...
...wife (the lovely Anne Archer), a child and a career to lose if his two-night stand is discovered. That the two principals are ostensibly mature professionals, not adolescent airheads, gives the film some of its fatal attractiveness. So do James Dearden's plausible, nicely observant script, Adrian Lyne's elegantly unforced direction, and Close's beautifully calibrated descent into lunacy. Together they bring horror home to a place where the grownup moviegoer actually lives. Men will suddenly, squirmingly, recall times when they barely escaped the consequences of their caprices. Women have been seen emerging from this movie wearing secret...