Not even remotely corny like one would expect of a 1980s romantic comedy, this fierce, libidinous entertainment stars Jeff Daniels as Charlie, an externally button-down banker whose mojo is readily fluttered by audacity in women, and Melanie Griffith as Lulu, an alcoholic sex machine with an amply fertile mind. Daniels plays some of the same notes here that he used in Terms of Endearment, where he was the firm, competent, straitlaced husband and father who liked to have relations with perky coeds. He looks like he was born to wear a suit and a tie, but he has that insubordinate glint in the right light. Griffith's performance is founded not so much on sexual excitement as on nerve: She is able to persuade us, and Daniels, that she is likely to do almost anything, particularly if she thinks it might shock him.
Even while they're standing on the sidewalk in front of that restaurant and she's making like she's charging him with theft, there's a spark between them. The casting is critical in a movie like this. There has to be some kind of brutish cohesion between the man and the woman or it doesn't make any difference how sharp the dialogue is. Once they've made their connection, Daniels freely goes along for the ride. After awhile she even takes his handcuffs off, although he sort of liked the idea of having lunch in a restaurant with the cuffs dangling from one of his wrists.
They drive down the East Coast from New York to Tallahasee, while she steals money from cash registers and he capsizes into the conscious daydream of the sensually exhausted. At Griffith's high school reunion, Daniels runs into the last person he wants to see, the accountant from his office. And Griffith runs into the last person she wants to see, her husband, Ray Liotta. I will stop here. The uncertainty of the tension must not be ruined.
If Demme and screenwriter E. Max Frye had developed this movie as a madcap comedy, it most likely wouldn't have worked as well. Their feat is to think their characters through before the very first scene. They know all about Charlie and Lulu, and so what happens after the confrontation outside that restaurant is virtually inescapable, cnsidering who they are and how they look at each other. This is one of those few movies where the story acts shocked by what the characters do, and not the other way around.
Even while they're standing on the sidewalk in front of that restaurant and she's making like she's charging him with theft, there's a spark between them. The casting is critical in a movie like this. There has to be some kind of brutish cohesion between the man and the woman or it doesn't make any difference how sharp the dialogue is. Once they've made their connection, Daniels freely goes along for the ride. After awhile she even takes his handcuffs off, although he sort of liked the idea of having lunch in a restaurant with the cuffs dangling from one of his wrists.
They drive down the East Coast from New York to Tallahasee, while she steals money from cash registers and he capsizes into the conscious daydream of the sensually exhausted. At Griffith's high school reunion, Daniels runs into the last person he wants to see, the accountant from his office. And Griffith runs into the last person she wants to see, her husband, Ray Liotta. I will stop here. The uncertainty of the tension must not be ruined.
If Demme and screenwriter E. Max Frye had developed this movie as a madcap comedy, it most likely wouldn't have worked as well. Their feat is to think their characters through before the very first scene. They know all about Charlie and Lulu, and so what happens after the confrontation outside that restaurant is virtually inescapable, cnsidering who they are and how they look at each other. This is one of those few movies where the story acts shocked by what the characters do, and not the other way around.