By Drew Taylor | The Playlist February 6, 2013 at 12:37PM
This weekend, "Side Effects," Steven Soderbergh's final theatrical film, opens nationwide. An uncanny psychosexual thriller set against the backdrop of the pharmaceutical industry, it stars Channing Tatum, Jude Law, Rooney Mara, and Catherine Zeta-Jones and is, per our review, more than worth your money this weekend. While the film twists and turns and hops through genres, Soderbergh's been open about the movie being something of a tribute to a particular brand of psychosexual thrillers, with "Fatal Attraction" cited as one of the inspirations for the director.
So, to get you ready for "Side Effects," we thought we would run down ten great examples of the genre, some of which likely inspired the "Side Effects" team, and all of which are worth checking out to varying degrees. Read it with someone you love. Or someone you're sleeping with on the side who will undoubtedly have a psychotic break, boil your pet rabbit, and try to kill you. Either way.
While Alfred Hitchcock's masterpiece "Psycho" is often cited as the principle building block for the slasher genre, inspiring everything from "Halloween" to "Silence of the Lambs" (a film also based in part on the real-life exploits of infamous serial killer Ed Gein) it also could be cited as one of the first honest-to-god psychosexual thrillers. The psycho part is spelled out in the title – most literally it refers to Norman Bates (Anthony Perkins), a nebbish loner who ruthlessly kills young women who have the misfortune of checking into his seedy roadside motel. He's got a serious (and here's where the sexual part comes in) Oedipal complex; falling in love with his mother, digging up her corpse (after he poisoned her), and assuming her personality to carry out his devilish deeds. His sexual repression unleashes murderous consequences, triggered, during the course of the movie, by young Marion Crane (Janet Leigh), who is nothing but sex – her introductory scene has her engaged in an unmarried (!) midday tryst. Even her underwear color betrays her – after she's stolen a substantial mount of money from her job, her bra turns from virginal white to seamy black. It's pretty heady, progressive stuff, especially for 1960, excuted by a master of suspense at the top of his game. It doesn't quite feature the love triangle aspect that is a common staple of the genre, although you could argue that a triangle of sorts forms between Leigh, Perkins, and John Gavin, as Marion's slightly wooden (but determined) lover. Oh, and there's always Mother...
Scott Z. Burns has cited Lawrence Kasdan's sexually charged riff on "Double Indemnity" as one of his chief inspirations on "Side Effects," and it's easy to see why. "Body Heat," which marked the directorial debut from Kasdan (then primarily known as the writer of fantastical blockbusters "Raiders of the Lost Ark" and "The Empire Strikes Back"; George Lucas returned the favor by serving as an un-credited producer here) and the first performance from Kathleen Turner (in a role that would help define her career and cloud it in a smoky haze of sexuality), concerns a skuzzy lawyer (William Hurt), who strikes up an affair with Turner, who is the wife of a powerful local businessman (Richard Crenna), with deadly consequences. The film's Florida location gives it some sticky-sweaty Southern Gothic overtones, like a Tennessee Williams play that happens to have a role for Mickey Rourke as a prototypical domestic terrorist who gives Hurt a homemade bomb. The location isn't the only thing that is hot in "Body Heat;" the sex scenes have a singular, explicit power, aided in part by Bond composer John Barry's slinky, jazz-tinged score, the dewy cinematography of Richard Kline and Turner's raw, fresh-faced allure. She is so gorgeous, so unrelentingly sultry, that it's easy to see why men would do very bad things just to keep her.
If there's a king of the psychosexual genre, then Brian De Palma should probably be the one to wear the crown. Beginning with his debut feature, "Murder A La Mod" (1968) and continuing through to "Passion" (which will be released later this year), De Palma has been working over themes of obsession, violence, and betrayal, in particular during a string of profitable and highly controversial movies in the '70s and '80s. (Detailed lovingly in the recent, pseudo-academic book "Un-American Psycho" by Chris Dumas.) While "Dressed to Kill" might be the most psychosexual of his psychosexual heyday, there's something sleazier and steamier about "Body Double," his unheralded classic from the period, that was unjustifiably thrown under the bus for perceived misogynistic undertones and what critics viewed as too many lapses in logic in De Palma's dreamlike narrative. (He's admitted some things in the movie just don't work.) But it's for all these reasons, not in spite of them, that "Body Double" is such a whacked-out delight. Like "Dressed to Kill," which liberally cribs from "Psycho," "Body Double" finds De Palma riffing on Hitchcock, in this case "Rear Window," with a struggling actor (Craig Wasson) agreeing to housesit for a friend. After her watches a woman get killed (in a sequence that caused the public outcry – she gets speared by a giant phallic drill), he's drawn into the underground world of Los Angeles pornography. (It was originally intended as a micro-budget film with an NC-17 rating.) "Body Double" is goofier than "Blow Out," De Palma's masterpiece, but it's still a sparkly crown jewel for the king of the psychosexual thriller.