Ok, this is mainly remarkable in it’s use of mad orchestra music. You remember, from a dim and distant past that they used to have wildly playing orchestras to denote tension and suspense. It was funny to hear now. I must have accepted it then. Plus it really is a psychological thriller and i love how at one point they go to an old and dilapidated lighthouse. (du na da na..) In happier laughing times, when they are in love, you know the score.
Immediately we know, with a true Hithcockian tap on the shoulder, that this lighthouse is going to be the scene for the final denouement. Which will, naturally be in the dark, in a storm, with flashing lightening perhaps. That time will not be so good.
Of course, a piece of flooring suddenly gives way (just a little) on the first golden glowy sunny day visit. They laugh it off. Lovely, cue collapsing said floor in the already future predicted final scene.
Final Analysis has the annoyingly grinning and forever smirking to himself, Richard Gere. Yes, he can carry off shock of white grey hair to a tee, however that guy is just too damn smug isn’t he? We can forgive him American Gigolo since he did put in so much effort on those keep fit bars in his flat. (Didn’t he even hang upside down at one point?)
Maybe even Pretty Woman, where again he just smirks a lot. Have to admit he was good as a bad guy in Internal Affairs. However he just toned down the smirk and turned up the glare. He always looks to me as an actor like somebody faintly annoyed yet bemused at the whole affair and is secretly wishing for a nice cup of tea.
Harmlessly enjoyable tosh. Kim Basinger i remember was in a fair few psychological thrillers. Always having to be the pouting and or lip trembling woman victim.. That’s why i liked this film…and how it seemed low on the scale of murder gore and grisliness that we have become used to.