In the 1980s, the same director premiered two important films of the period, one year apart, and these films featured eroticism in different ways. Director Adrian Lyne and movies, “9 Weeks and a Half” (1986) and “Deadly Attraction” (1987). It would be unfair to say that they were the two defining erotic films of the period. As for the same decade that Richard Gere starred in “American Gigolo” (1980), “Fire in the Body” (1981), “The Postman Always Rings Twice” (1981), and “Body Double” (1984), and Steven Soderbergh She debuted with ‘Sex, lies and videotapes’ (1989). But both Lyne’s films are strong enough to deserve special mention.
It should be noted that both are very different films, although they make their mark with the style of their directors, as much as they are criticized, with a personal style. Typical of both is the complexity of an expensive ad, the sometimes embarrassing sentimentality, and the balance between the irresistible and the ridiculous. cinema Lyne’s. Also compelling and questionable is its commitment to good commercial cinema. But ‘9 and a half weeks’ is a romantic melodrama, while ‘Fatal Attraction’ is a thriller. He is even one of the pioneers of the 90’s thriller, in which erotic thrillers took an important place with films such as ‘Basic Instinct’ (1992), ‘Showgirls’ (1995), ‘Wild Games’ (1998). ) or ‘An Depraved Proposal’ (1993), again written by Lyne.
There is a widespread perception that ‘9 1/2 Weeks’ is a blockbuster movie. United States of America. It wasn’t. Lyne’s film failed at its premiere in its country of origin, which was also not generous with critics, but was successful because the international collection was so good, and it collapsed after entering the domestic sales and rental circuit. There’s also a common perception that everyone knows what ‘9 and a half weeks’ is, but it’s been 37 years since its premiere and it doesn’t hurt to remember what it’s all about. Lyne’s film chronicles the brief sexual relationship between Elizabeth (Kim Basinger), a New York art gallery owner, and a Wall Street yuppie (Mickey Rourke).
Producer Zalman King wrote the script from a ‘memoir’ of his wife Patricia Knop and Elizabeth McNeill. The author, whose true identity was revealed years later, told Austrian-born writer Ingeborn Day, She described her sexual relationship with a man based on addiction and submission. King, Knop, and Lyne downplayed the book, which was more pessimistic in its conclusion and went deeper into its thinking about sexual freedom and consent..
‘9 and a half weeks’ does not idealize the love of the couple and these issues are highlighted, but exposed less seriously so that they do not overshadow the attractiveness of sexual encounters.. More than the anger that scenes of domination can provoke, ‘9 and a half weeks’, which is remembered with the attractiveness and hot moments of Basinger and Rourke, who could not stand each other on the set, As always, Lyne strikes a balance between sophisticated, sensual and ridiculous.
The success of ‘Deadly Attraction’
‘Deadly Attraction’ was successful. It swept the US and international box office and was nominated for six Oscars. Reviews were mostly negative, but it also garnered rave reviews and, more importantly, was a hit with critics. Reason? The movie, which is about infidelity that turns into a nightmare, caused angry reactions from the public (especially men). And instead of focusing on cinematography, many of the critics began to raise or reject moral positions from this discussion. Fatal Attraction is the story of a successful married New York lawyer (Michael Douglas) who has an ideal home life and an affair with a publisher (Glenn Close). Her perfect world is in danger when her lover refuses to accept the end of this idyll and becomes obsessed with it.
The reaction of a significant portion of the public to the film, which hurled insults at Close’s onscreen character in many screenings, revealed two things: machismo of time (although there are voices in favor of the female character) and Reagan’s fear that the United States will falter, as represented by the Douglas character and his economic and family model.. Eroticism was perhaps not the most important thing. But this was crucial because these fears were largely due to many viewers’ discomfort with the irresistible sexy appeal of Close’s character and the eroticism of her scenes with Douglas, both of which Lyne had always been attracted to.