Basic Instinct
Reżyseria:
Paul VerhoevenScenariusz:
Joe EszterhasZdjęcia:
Jan de BontMuzyka:
Jerry GoldsmithObsada:
Michael Douglas, Sharon Stone, George Dzundza, Jeanne Tripplehorn, Denis Arndt, Leilani Sarelle, Bruce A. Young, Chelcie Ross, Dorothy Malone (więcej)VOD (1)
Opisy(1)
Zakrwawiony szpikulec do lodu, biała jedwabna chusta zwisająca z wezgłowia i rozerwana pościel świadcząca o upojnej nocy - to wskazówki, którymi dysponuje detektyw Nick Curran z San Francisco w śledztwie dotyczącym brutalnego morderstwa. W miarę postępów Nick zaczyna podejrzewać zmysłową i uwodzicielską Catherine Tramell, powieściopisarkę, której papierowe zbrodnie wykazują niezwykłe podobieństwo do tej właśnie popełnionej. (Entclick)
(więcej)Recenzje (7)
A film that relies on a brilliant script and the performances of the leading duo. Sharon Stone is a brilliant bitch, she reminds me of a friend of mine. Good thing she's not a writer.
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A classic in the field of chilling thrillers. The actors spark off of one another; the touch of eroticism works; the plot is suspenseful; Verhoeven adds a pinch of controversy... Despite all of the above, however, one cannot help feeling that the movie has lost some of its punch over time. Today, Basic Instinct is no longer the sensation that it once was at the time of its release.
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This time it was my turn to choose the romantic movie for Mayday. So, after 50 Shades of Grey, why not reach out for a classic. Douglas is at the peak of his acting form, Stone in her best physical form. Fantastic atmosphere, awesome lines. Verhoven’s explicit and bloody stylization made me long for the old days. First class music. Let’s remember Jerry Goldsmith.
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Demonic, I can't think of a more concise descriptor for this masterpiece. Paul Verhoeven is precisely the type of director who can handle this kind of material excellently, and that is exactly what he did here. The dark and depressive atmosphere is captivating, and an unsuspecting viewer may not even be able to exhale due to the tension. The acting performances are captivating, and the screenplay is brilliant. The divine Jerry Goldsmith fully showcases his talent, and this work may very well be his pinnacle. A magnificent tribute to the noir genre and one of the highlights of cinematography. Another one of the countless artistic works that were created in the 1990s.
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An ego game, with its endless allusions, confusions, and blending of identities, would normally call for a far more subtle approach, but not so with Verhoeven and his naturalistic approach to all physicality combined with his resignation to human character (a value he commendably never stepped out of throughout his life). It's a bit of a miracle that it works and that it works this well. My guess is that the chameleon-like Sharon Stone and the wild jungles of 1990s San Francisco are mostly to blame.
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I didn't expect the film to have the same effect on me as it did almost thirty years ago, but it did. Even though I obviously couldn't expect a moment of surprise, the suspense still worked perfectly because the creators were able to create an awesome atmosphere on which time left no trace. Erotic scenes didn't look cheap and were essential to the plot. Many a contemporary filmmaker could learn from that. A lot of movies and series would be shorter. Anyway, the story was great, Michael Douglas was excellent as always, and I also liked the performance of Sharon Stone, and I’m not exactly a fan of hers.
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This start is excellent, the characters Douglas and Stone are great and there is an incredible chemistry between them, like a properly cool toughness. These two carry the film until the end, even though it feels rushed, or rather you don't feel like you have watched something that is really well and exceptionally concluded. Some scenes, however, are legendary. Well, especially one.
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