Compromising Positions
1985's Compromising Positions is a black comedy that is told with perhaps a little too straight a face, but sporadic entertainment is provided thanks to solid direction and a winning cast.
A lecherous Long Island dentist named Bruce Fleckstein, who was having affairs with most of his female patients is found murdered. Judith Singer, a former investigative reporter turned bored housewife, who had just begun seeing Fleckstein as a patient, is fascinated by this murder and begins her own investigation, despite the strong objections of her sexist husband and a handsome police detective assigned to the case, who instead of keeping Judith out of the investigation decides to work with her and, of course, finds himself attracted to the woman.
The basic concept of Susan Isaac's screenplay, adapted from her own novel, is a strong one, but the black comedy premise that established in the opening scenes of the slimy dentist in action, eventually degenerate into a story that should have had more of a farcical feel to it, than the straight up murder mystery that materializes in front of the viewer. Judith Singer should have been the realistic center behind more over-the-top, almost cartoonish characters in the style of a Mel Brooks farce, instead of the grade Z Woody Allen sensibility that Isaacs attempts to establish.
Those opening scenes of Fleckstein are so much fun but as the film progresses, the only thing for the viewer to hang onto is the Judith Singer character, who provides the alleged black comedy the emotional center it deserves. The coming out of the Judith character as her life becomes recharged because of this murder is a joy to watch, something akin to the transition that the Joan Wilder character goes through in Romancing the Stone. We love the Judith character so much that we try to overlook the fact that no real police officer would actually involve a civilian in an actual murder investigation or that he wouldn't be taken off the case completely when his attraction to Judith comes to light.
Director Frank Perry (Mommie Dearest) provides some colorful directorial flourish to the proceedings, with a grand assist from a terrific cast. Oscar winner Susan Sarandon offers a deliciously layered performance as Judith Singer and she creates a genuine chemistry with the late Raul Julia as the sexy police detective. Edward Herrmann gives another of his slimy turns as Judith's nasty husband, the kind of role Herrmann had a patent on in the 70's and 80's. Deborah Rush, Josh Mostel, Anne deSalvo, and especially Judith Ivey also shine in supporting roles. And Joe Mantegna makes the most of his opening moments as the freaky Dr. Fleckstein. If the screenplay had been of a lighter tone and had been more of a farce than the standard murder mystery it becomes, this could have been more than passable entertainment, but Sarandon and company make it worth s look.
1985's Compromising Positions is a black comedy that is told with perhaps a little too straight a face, but sporadic entertainment is provided thanks to solid direction and a winning cast.
A lecherous Long Island dentist named Bruce Fleckstein, who was having affairs with most of his female patients is found murdered. Judith Singer, a former investigative reporter turned bored housewife, who had just begun seeing Fleckstein as a patient, is fascinated by this murder and begins her own investigation, despite the strong objections of her sexist husband and a handsome police detective assigned to the case, who instead of keeping Judith out of the investigation decides to work with her and, of course, finds himself attracted to the woman.
The basic concept of Susan Isaac's screenplay, adapted from her own novel, is a strong one, but the black comedy premise that established in the opening scenes of the slimy dentist in action, eventually degenerate into a story that should have had more of a farcical feel to it, than the straight up murder mystery that materializes in front of the viewer. Judith Singer should have been the realistic center behind more over-the-top, almost cartoonish characters in the style of a Mel Brooks farce, instead of the grade Z Woody Allen sensibility that Isaacs attempts to establish.
Those opening scenes of Fleckstein are so much fun but as the film progresses, the only thing for the viewer to hang onto is the Judith Singer character, who provides the alleged black comedy the emotional center it deserves. The coming out of the Judith character as her life becomes recharged because of this murder is a joy to watch, something akin to the transition that the Joan Wilder character goes through in Romancing the Stone. We love the Judith character so much that we try to overlook the fact that no real police officer would actually involve a civilian in an actual murder investigation or that he wouldn't be taken off the case completely when his attraction to Judith comes to light.
Director Frank Perry (Mommie Dearest) provides some colorful directorial flourish to the proceedings, with a grand assist from a terrific cast. Oscar winner Susan Sarandon offers a deliciously layered performance as Judith Singer and she creates a genuine chemistry with the late Raul Julia as the sexy police detective. Edward Herrmann gives another of his slimy turns as Judith's nasty husband, the kind of role Herrmann had a patent on in the 70's and 80's. Deborah Rush, Josh Mostel, Anne deSalvo, and especially Judith Ivey also shine in supporting roles. And Joe Mantegna makes the most of his opening moments as the freaky Dr. Fleckstein. If the screenplay had been of a lighter tone and had been more of a farce than the standard murder mystery it becomes, this could have been more than passable entertainment, but Sarandon and company make it worth s look.