Fatal Attraction On Stage at the Haymarket Theatre

I studied Fatal Attraction (1987) a few months ago as part of the module Hollywood Cinema, and it left me with many doubts and concerns. First, I’m not a fan of Michael Douglas, but a huge fan of Glenn Close and it was painful to see her character’s treatment within the narrative; second, after reading about the gender politics of the film and its will to align the audience with the main male character, therefore wanting to ‘kill the bitch’ as he wants, I was rather disappointed that a film condemning single career women in such a way had been made.

However, the narrative is suitable within its historical context, even though it doesn’t justify the treatment of women at all, as I wrote in a previous blog post:

http://artbookscinema.blogspot.co.uk/2013/11/suggested-viewings-from-kcl-film-studies.html

The message is simple: be a perfect housewife waiting for your man to come home while raising your children and dreaming about the suburbs. If you try to be independent while enjoying your career and man’s company, but still dreaming of having children and a future companion well, then, you must be killed off, because restoring the family nucleus seems to be the only solution in Fatal Attraction.

But, wait a moment, has this film always been thought this way?

I advice you to read something about it and you will find out that the film has been changed to justify Michael Douglas's character inability to keep it in his pants.

A few weeks ago I saw this poster while walking on the tube:

My first thought was that I wanted to see Kristin Davis live, not only because of my personal affection for Sex and the City, but because I think she has a great potential that must gain the right recognition. 

My second thought was about the adaptation and how great it would have been, if well done, in emphasizing the thriller feel of the film, the entrapment of houses and flats and the maniac relationship with phone calls.

Last night I finally got my tickets and got ready for the show.

Despite being a little emotionally distant during the first part, I fell madly in love with the two great female performances which reach their peak in the second part of the play.

Kristin Davis is designed for the role, she took the stereotype of her character in Sex and the City, with a woman seemingly satisfied about her life, but whose satisfaction is rather bitter: the scene in which Daniel confesses his affair left everyone completely breathless in the theatre, and the intensity of the scene was completely reached thanks to her performance.

What to say, then, about Natascha McElhone? Not only her diction and speech delivery extremely reminded me of the original Alex Forrest, but her allure on stage was incredible. An actress perfectly designed for the part and who manages to drag you into the narrative with her incredible emotional charge.

Anyways, Mark Bazeley was absolutely incredible in re-elaborating Michael Douglas’s character, and the addition of his narrating voice, in my opinion, succeeded in moving the sympathies within the narrative from him to Alex and Beth more than anyone. 

I observed the audience’s reaction and at any comment about his innocence and about how his life was ruined by Alex you could hear most of the audience giggle as if we all wanted to say: "You should have thought about it before bastard."Let’s stop blaming women for being 'emotional', when men can get away with adultery, and disregard the other woman, for the sake of the one they have already betrayed.

Thanks to James Dearden, writer of both film and play, and director Trevor Nunn for this amazing adaptation which finally puts its characters where they were originaly supposed to be. I won’t spoil the ending, but I suggest to watch the film first in order to get the importance of significant changes. Great job to both main and secondary characters, the cast was perfectly chosen and in line with its original source.

This is the play’s world premiere and you can see it until June at the Haymarket Theatre for only £10 in the gallery! A must-see!

Suggested Viewings from KCL Film Studies

Unfortunately I didn't have time to post this during the weekend since I was finishing two essays, but last week was amazing in terms of topics and films. It was probably one of the few in which I was fully satisfied with everything we discussed.

From the module British National Cinema: Mandy (Alexander Mackendrick, 1952). A social drama in the light of post-war England, the touching story of a deaf six-year old girl and her family, building a bridge between different generations, and opening the door on the future.

From the module Hollywood Cinema: Fatal Attraction (Adrian Lyne, 1987). First of all, I love Glenn Close, but studying this film is much different than just watching it. I invite you to watch it and pay attention to how the female characters are portrayed in relation to post-feminism. You also may want to consider Newsweek's cover in 1986: 

So, please, don't be among the ones screaming "Kill the bitch", but consider the film's context first! 

From the module Contemporary Spanish Cinema: Te doy mis ojos/Take my eyes (Icíar Bollaín, 2003). An astonishing masterpiece, I was very pleased to discover the work of Icíar Bollaín. This film is so rich, and offers a very insightful approach to the subject of domestic violence. Among the actors you will recognize some familiar faces from All About My Mother (1999, Almodovar).  Pay attention to the use of paintings within the narrative and how art strenghtens the meaning of the film. 

From the module Chinese Cinemas: Infernal Affairs (Andrew Lau and Alan Mak, 2002). Who said Chinese films are slow and boring? Forget about The Departed, this is the original version. Masculinity is such an interesting topic to discover in relation to China's tradition, so enjoy this breathtaking film.