![]() I'm an ethical egoist, whereas Quinn/Dunn strikes me as a reckless hedonist who doesn't have the foresight to see that she is on the road to self-destruction. Regardless of the context? I think that Theresa simply "paid the piper" fair and square in Goodbar. It was amazing that she didn't meat a similar, yet also avoidable fate sooner.ĭavidhare wrote:Maybe I just have a thing about movies (and real life stories) with sexually liberated people who end up paying for their sins. I don't mean to come across as patronizing, of course, but you seem to be arguing an illogical position, Dave! Quinn / Dunn played high stakes at the one-night-stand game. And how else should the movie end? It's based on the Quinn murder! It would be like having Perry and Dick simply serve life imprisionment at the end of In Cold Blood instead of being hanged. You see a soft presentation of this in Goodbar. Quinn was beaten several times by these men. Roseann Quinn / Theresa Dunn was a troubled woman who risked her life time and time again with rough men she picked up in sleazy bars. Any discussion of ethics should be directed at the real life event - the movie just presents a stylized account of the event. Again, we're talking about a novel and film based on a real life event. I reported the rumour of a DVD, but nothing official has came our way yet.ĭavidhare wrote:To me it's standard Hays Code "transgression" rewarded with punishment (her murder.) Because she's a woman. It's one of those mainstream American films not released on DVD that stick out - great central performance, Gere, disco soundtrack, in-your-face transgessive material, etc. Quite perplexing that Paramount have avoided it for ten years. Gorgoeusly dark, lens-flare cinematography by William Fraker the final, single-image shot with the flickering movie projector is ingenious and downright creepy. And it's early Richard Gere, so it has that going for it. that it is a very straightforward, self-consciously 'transgressive' film, but I think that fans of 70s Cinema should see it for that reason in addition to it containing a brave performance. I like the misleading fantasy sequences that turn out to be grounded in reality and the quick flashbacks and sharp time-cuts (Theresa getting her tubes cut). Well, when you contrast this film with the confoundingly perennial Saturday Night Fever, released the same year (1977) you have to admit that it is worth a reappraisal on DVD. ![]()
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