From Day 1: GIrls Do Films – ALEX FORRESTER  ( Glenn Close ) “Fatal Attraction”

The villain who is really a victim. First the fight’s between  Dan the Husband ( Michael Douglas ) and Alex the Mistress ( Glenn Close ); she’s trying to hold on, he’s trying to cover up. When Beth the Wife ( Anne Archer ) gets in the picture, it’s up to HER to protect her family. I like that.


The ending you cite that the studio wanted to use seems like it also has holes and  conveniently ties up loose ends. How does Douglas’ prints get on the knife Close uses to slit her own throat? ( Throat…not wrist. Ack! Gruesome ). And the wife finds a tape from the mistress? ( Hmmmm ).  Perhaps in order for Alex to be the “victim” Beth would have had to be a nagging shrew ( think Edward G. Robinson’s wife in Scarlet Street ) and Dan would really have to be a pursuing hound dog. As the movie stands, the opportunity for an affair kind of falls into Dan’s lap. He doesn’t actively pursue Alex. She’s conveniently put on a silver platter for him that he takes advantage of.

The current ending nice and neat? I dunno. Sometimes things are tied up in a bow, and sometimes things just flow linearly; a natural progression of events. There is still the jagged edge ( another Glenn Close movie ) of the husband and wife dealing with his infidelity.


This movie makes me think of Play Misty for Me.” Some girls just can’t take a one-night stand. I jotted down this comment as I read your entry, and to my pleasant sur-prise, as I continue reading,  I see reader “le0pard13 cites “Play Misty for Me” as well. Ha!! Now THAT makes me feel very smart. I’m also thinking Blue Steel ( Jamie Lee Curtis / Ron Silver ).  I know…not exactly the same thing – his psychosexual psychosis was all mixed up with guns. But I’m thinking of a lover who is spurned who can’t take no for answer going completely off the beam. It gets worse with men because they want to start shootin’ things up, and asking questions never.

I hear what you’re saying here:

“But it’s difficult to really feel any sympathy for her character because the film is told through the eyes of Dan. Everything that’s threatened belongs in his world, nothing is considered through the eyes of a single female. The message? That women who seek liberty or equality pay with empty beds and incomplete lives: the sanctity of family triumphs over everything. Passion is – and will be – punished.”

As an indie filmmaker and ( totally struggling ) screenwriter, it’s always a task to know WHOSE point of view the story tells. We can’t please everyone. Where do we want to take the audience and who takes us there? We can’t have tentacles of fairness for each and every single character unless one is a very very skillful writer. ( Yes, Alex did get the short end of the stick, but ) maybe this was more Dan’s story. Isn’t that the thing with movies…whose point of view drives the story? Every thing hinges on that. 


Think about Rocky.” ( Yes, I insist. ) The p.o.v.  is such that though Rocky loses the big fight against Apollo Creed, we’re rooting for Rocky, the underdog. We’re not looking at Apollo having to deal with a challenger who’s a mug. Think about The Letter.” ( Ahhh, that feels better, right? ) Why don’t we take Gale Sondergaard’s side? After all she IS Mr. Hammond’s widow. Is it because she has eyes like a cobra’s eyes? Check it…Bette Davis cheats on her husband with a married man. Why are we in Bette’s camp, part of the Imperial class, hoping she can get that incriminating letter back without her staid vanilla of a husband ( Herbert Marshall ) finding out she has tapped out his bank account? Am I alone in rooting for Bette?

You say here:

“There has to be something else – from past relationships, childhood or any other Freudian cliché you care to float – that can explain her evil, because ‘career girl goes mad in the face of domestic bliss’ just doesn’t seem ample justification …In contrast to Dan, Alex doesn’t seem to have any friends (another lesson to independent women?) who can counsel her actions or offer advice.”

it wouldn’t hurt to have one phone call from an Eve Arden-type friend to say to Alex: “Not again, girl. What’d I tell you about that?” (( Note to Self: Make sure you throw in a voice of reason before you have your heroine go off half-cocked. ))

Anne Archer is sexy in a wholesome way. ( Not in a Jayne Mansfield way. ) She’s  sexy in the organic way that is covered by the umbrella of love and marriage and partnership and trust. Movies are very simplistic: white hats / black hats. We can see they have a loving re- lationship. I feel the movie is a cautionary story against having affairs. Michael Douglas had a run there and spearheaded being caught in the zeitgeist of the time with this triple feature of Basic Instinct” “Fatal Attraction and Disclosure.

FATAL ATTRACTION ( III )Call me crazy, call me silly but I guess I’m a willing participant in being manipulated by movies. (Just don’t make it too obvious though). I never took Alex’s behavior as an indictment of Sex and the Single Girl. But I will never forgive her for the bunny.




  1. A few years ago, I finally read James M. Cain’s novel of Mildred Pierce, which was the basis for this movie. The Mildred character is quite a bit different and, as written, would never have fit Crawford. (I’m trying to think of an actress from that period who would have matched Cain’s conception–maybe Claire Trevor from the 1930s, but a little more polished.) Veda’s a hard case in the novel also, but on a somewhat different plane. Here are two paragraphs from the novel’s plot synopsis on Wikipedia:

    When Mildred discovers her daughter’s plot to blackmail a wealthy family with a fake pregnancy, she kicks her out of their house. Veda, who has been training to become an opera singer, goes on to a great deal of fame as Mildred convinces her new boyfriend Monty (a young man who, like Mildred, lost his family’s wealth at the start of the Great Depression) to help reconcile them. Unfortunately for Mildred, this means buying Monty’s family estate and using her earnings to pay for Veda’s extravagances. Mildred and Monty marry, but things go sour for her: Wally, her partner in the restaurant business, has discovered that her living like a rich person has dramatically affected the company’s profits. He threatens a coup to force her out of the company. This causes her to confess to her ex-husband Bert that she has been embezzling money from her company in order to buy Veda’s love.

    Needing some of Veda’s money to balance the books – and fearing that Wally might target the girl’s assets if they are exposed – Mildred goes to her house to confront her. She finds Veda in bed with her stepfather. Monty explains to Mildred that he’s leaving her for Veda, who gloats that they have been planning this all along. Mildred snaps, brutally attacking and apparently strangling her daughter, who now appears incapable of singing and loses her singing contract.

    Liked by 1 person

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