User reviews

This remake of the 1946 film which starred Lana Turner and John Garfield is significantly better than its reputation. The script, adapted from James M. Cain's first novel, is by the award-winning playwright David Mamet, while the interesting and focused cinematography is by Sven Nykvist, who did so much exquisite work for Swedish director Ingmar Bergman. An excellent cast is led by Jack Nicholson and Jessica Lange, whose cute animal magnetism is well displayed. Bob Rafelson, who has to his directorial credit the acclaimed Five Easy Pieces (1970) and The King of Marvin Gardens (1972), both also starring Jack Nicholson, captures the raw animal sex that made Cain's novel so appealing (and shocking) to a depression-era readership and brings it up to date. Hollywood movies have gotten more violent and scatological since 1981, but they haven't gotten any sexier. This phenomenon is in part due to fears occasioned by the rise of AIDS encouraged by the usual blue stocking people. Don't see this movie if sex offends you.

Lange is indeed sexy and more closely fits the part of a lower-middle class woman who married an older man, a café owner, for security than the stunning blonde bombshell Lana Turner, who was frankly a little too gorgeous for the part. John Colicos plays the café owner, Nick Papadakis, with clear fidelity to Cain's conception. In the 1946 production, the part was played by Cecil Kellaway, who was decidedly English; indeed they changed the character's name to Smith. Also changed in that production was the name of the lawyer Katz (to Keats). One wonders why. My guess is that in those days they were afraid of offending Greeks, on the one hand, and Jews on the other. Here Katz is played by Michael Lerner who really brings the character to life.

Jack Nicholson's interpretation of Cain's antihero, an ex-con who beat up on the hated railway dicks while chasing any skirt that came his way, the kind of guy who acts out his basic desires in an amoral, animalistic way, was not entirely convincing, perhaps because Nicholson seems a little too sophisticated for the part. Yet, his performance may be the sort better judged by a later generation. I have seen him in so many films that I don't feel I can trust my judgment. My sense is that he's done better work, particularly in the two films mentioned above and also in Chinatown (1974), One Flew Over the Cuckoo's Nest (1975) and such later works as The Shining (1980) and Terms of Endearment (1983).

The problem with bringing Postman successfully to the screen is two-fold. One, the underlying psychology, which so strongly appealed to Cain's depression-era readership, is not merely animalistic. More than that it reflects the economic conflict between the established haves, as represented by the greedy lawyers, the well-heeled insurance companies, the implacable court system and the simple-minded cops, and to a lesser degree by property owner Nick Papadakis himself, and the out of work victims of the depression, the have-nots, represented by Frank and Cora (who had to marry for security). Two--and this is where both cinematic productions failed--the film must be extremely fast-paced, almost exaggeratedly so, to properly capture the spirit and sense of the Cain novel. Frank and Cora are rushing headlong into tragedy and oblivion, and the pace of the film must reflect that. A true to the spirit adaptation would require a terse, stream-lined directorial style with an emphasis on blind passions unconsciously acted out, something novelist Cormac McCarthy might accomplish if he directed film. I think that Christopher Nolan, who directed the strikingly original Memento (2000) could do it.

For further background on the novel and some speculation on why it was called "The Postman Always Rings Twice" (Cain's original, apt title was "Bar-B-Que") see my review at Amazon.com.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

"The Postman Always Rings Twice" is the second American version of the famous James M. Cain novel and the fourth overall version. In addition, Émile Zola's story "Thérèse Raquin" clearly was more than just the inspiration for Cain, as it's so similar, too similar, to be coincidental. And the Zola novel has been made at least twenty or more times! So in other words, this 1981 film is a version of a story that's been made over and over and over again....to the point where you wonder why they keep making it!

As I watched this 1981 film, I was pleasantly surprised by one thing...it really does stick very closely to the novel. In many, many ways the characters are nothing like the overly sanitized Lana Turner/John Garfield version. Jack Nicholson's version of Frank is far nastier than the drifter played in the 1946 film. He has a prison record and isn't likable in the least. As for Cora, she's a lot kinkier than she was in earlier versions! In fact, in 1946 they simply couldn't have stuck too closely to the novel due to the tough Production Code...which prevented nudity and kinks from being included in films...and Cora really has some kinks in this film! So, at least it is a much more faithful version of the story...albeit still yet one more version of the story. And this leads me to the important question...is it any good? Well, yes and no. The acting and production are pretty good and the story engaging...but it also is familiar (I know I've mentioned this OFTEN already) and the courtroom scene where Jessica Lange has her outburst is absolutely absurdly overacted. Still, not a bad little film.

This novel adaptation was the second after a first movie in the 1940s. This one retains the period setting but ups the ante in terms of sexual content, featuring one of the most explicit sex scenes ever shown in a mainstream film which goes far further than any film before - or since.

The plot is simple in the extreme: the wife of a Greek man who runs his own diner, bored and neglected by her husband, begins a torrid affair with a drifter her husband employs as his mechanic. From there on in, the story gradually develops in often fascinating ways as the two lovers realise that only one thing's stopping their happiness: her husband.

The film is shot through with a grim and gritty emphasis, best realised by Nicholson's grubby mechanic. He's nobody's idea of a sex symbol, although Jessica Lange is quite ravishing as the object of his attentions. This focus on realism over Hollywood fantasy is what makes the film so watchable and, in places, uncomfortable as it becomes clear that the lovers have something of a sado-masochistic relationship.

Things move into courtroom-drama territory later on (featuring some terrific acting work from Michael Lerner as the lawyer) whilst handing a number of blink-and-you'll-miss-em minor parts to familiar faces (John P. Ryan as a blackmailer, Angelica Houston as - bizarrely - a circus owner, cult favourite Don Calfa as a circus hand, Brion James as a thug and Christopher Lloyd as a salsman).

I found the film to be sometimes compelling and never boring. It's one of those films you watch to find out just what happens to the central characters, a curiosity bolstered by the feeling that they're never going to unentangle themselves from this mess. Come the surprise climax, well...you'll have to see for yourself.

I must admit I was quite impressed with Bob Rafelson's adaptation of the depression era novel, "The Postman Always Rings Twice". Jack Nicholson plays Frank, a vagabond who eventually falls in love with a sexy waitress named Cora,played by Jessica Lange, who reciprocates this love. However, there is one problem standing in the way: Cora is married, unhappily married, but married nonetheless.

Aside from an intriguing story, "The Postman Always Rings Twice" is a wonderfully put together film, as Rafelson does a splendid job delving into the characters and their relationships, as well as examining the problems associated with forbidden love. As a viewer, you truly feel the passion between Lange and Nicholson,(who both won academy award nominations), and you almost feel for their pain. In the 1930's women in America were at quite a different position than they are today. They were expected to stay with the husband no matter what the circumstances, as divorce was quite uncommon. Lange was very convincing as this trapped 30's woman who eventually broke free the only way she knew possible..

I definitely recommend "The Postman Always Rings Twice" for any fan of entertaining and thought-provoking movies. Although the character development is not quite as extensive as some of Rafelson's early work, particularly the 1971 classic "Five Easy Pieces", the movie combines an intriguing screenplay with superb acting to make its own statement.

Immensely watchable, this remake of the 1940s classic is sexed up by writer David Mamet and director Bob Rafelson. Jack Nicholson is a drifter who ingratiates himself into the lives of roadside diner/gas station owner John Colicos and his impossibly sexy wife Jessica Lange. Soon Lange and Nicholson are having sex EVERYWHERE...and plotting to bump off Colicos. Aided by great cinematography by Sven Nykvist and very evocative production design by George Jenkins, Rafelson manages to capture James M. Cain's ironic novel and all it's sordidness. Nicholson is terrific but Lange gives a career making performance...this is the movie that put her on the map after the KING KONG debacle. There are times when she acts Nicholson off the screen. Colicos is fine, if a bit old for his role and Michael Lerner is in it too. Anjelica Huston has a really odd cameo as a lion tamer!

Twice is nice. Hollywood had to try twice to get this story right. Lana Turner was beautiful in the 1946 version, but Jessica Lange was something to kill for opposite Jack Nicholson.

Such raw sensuality would easily persuade a man to lose his very soul. Nicholson's part is certainly unscrupulous to begin with, but in Jessica Lange he finds a confederate with even less scruples. The legal loose ends that dangled in the earlier version are avoided this time with a more plausible chain of events... and the story ends when the story ought to end, instead of being dragged on.

Wonderful character and situation development, intriguing and engaging, even when you know the story. Nice twists of the story from the Lana Turner and Italian ("Ossessione" 1943) versions.

The story of a drifter working on a by the road dinner, and the owner's wife, disenchanted with her marriage sets upon herself to seduce the drifter in the hopes of a more satisfying relationship.

This is the base of the script, in which Jessica Lange and Jack Nicholson shine in their performances bringing different dimensions to their characters and, in true, bringing them to life.

Frank Chambers (Jack Nicholson) is a bored drifter, with some jail time under his belt not looking for anything in particular. He gets enchanted by Cora (Jessica Lange) and ends up doing everything for them to be together.

I think Jack Nicholson is an outstanding performer and it shows here some glimpses of what he will put in The Shining later on.

I also particularly liked John P. Ryan in the small supporting role of Kennedy where we can see in him the double-stabbing typical that he will show in later roles.

All in all it is a good movie, but I don't consider it as being erotic. Maybe for 1980's standards, but even so I doubt it.

The Postman Always Rings Twice (1981)

** (out of 4)

Considering the talent in front of and behind the camera, there's really no way to look at this adaptation of the James M. Cain novel as anything but a disappointment. In the film, Jack Nicholson plays drifter Frank Chambers who enters the lives of Cora (Jessica Lange) and her much older husband Nick (John Colicos). Soon the drifter and Cora start up a sexual relationship, which leads to them planning the murder of the husband. This here would be the fourth version of the classic story and the second one filmed in America. Unlike the previous versions, director Bob Rafelson didn't have to worry about censors but even so this version isn't nearly as hot as the earlier one with Lana Turner. Outside a rather intense sex scene towards the start of the picture, this thing really never takes off, which is too bad because they've got a terrific cast and some beautiful settings but in the end the film is just flat. I think the first forty- five minutes are the best thing in the film as we see the love triangle set up and there's no question that the director has the look of the era down perfectly. I thought the setting really added a lot of atmosphere but sadly very little else happens. Nicholson was the perfect choice to play a drifter but the screenplay really doesn't give him too much to work with. Lange is clearly the best thing in the movie as she delivers a sexual charge to the thing. Colicos is also extremely good as the husband in a strong supporting performance. What really hurts the film is the second half because the director never really makes us believe or feel anything for the two leads. Are we supposed to hate them for what they've done? Are we supposed to be rooting for them to get away with the murder and live happily ever after? The entire second half of the film features way too many dialogue scenes that lead no where and in the end the "romance" that starts to bloom towards the end just never fully works. The film isn't nearly as bad as its reputation but at the same time there's no question that it's a major disappointment and a bitter feeling takes over when you think about what could have been.

Before I talk about the movie, I have to warn you that I have never seen the original THE POSTMAN ALWAYS RINGS TWICE (the 1946 version) nor any of the movie versions of THERESE RAQUIN. Then why did I saw this adaptation? Well, I really like Jack Nicholson and having already saw 29 of his movies, I wouldn't have minded to see another one with this immensely talented actor.

In the beginning Frank Chambers (Nicholson) takes a lift and goes to a tavern. Once there he has to go to the bathroom accidentally leaving his jacket on the counter and his driver (Christopher Lloyd) takes it and leaves him without his wallet. Money-less, Frank is forced to work as an handy-man for the tavern owner and some time later he ends involved with his wife Cora (Jessica Lange) and have a one-night stand in the kitchen. Soon Cora has a plan to murder her husband with the help of Frank and marry him instead. She succedds in murder the husband, but this will have some consequences. Frank and Cora manage to get free up until the tragic ending...

Bob Rafelson directs nicely and got the 1940s look well. Jack Nicholson as usual gives a nice performance and Jessica Lange was more on the gorgeous side. As for the plot, it reminded me a lot of the noirs of the 1940s-1950s and I appreciated it.

So, according to most of the reviews is the most loyal cinematic version of the novel, but still, it's good also for those who haven't read the book nor seen the previous movie versions.

I say that one-line statement having yet to read James M. Cain's original (short) book, or the 1946 film starring John Garfield and Lana Turner. So I have now seen the Postman Always Rings Twice directed by Bob Rafelson and starring Jack Nicholson and Jessica Lange twice now, and see it on its own terms without much to really compare it to. Perhaps my perceptions could change once I see the older Hollywood film (even though Luchino Visconti's own version of the book, Ossessione, is one of his masterpieces), but for the moment this is a fairly competent, sometimes exciting, and usually sensual story of lust, murder, thick plots and a few tight twists and turns. Nicholson's Frank Chambers is a sort of blue-collar wanderer who wanders into the life of Cora (Lange, rarely been sexier), who is married to a gregarious, overbearing lug, Papadakis (John Colicos, perfect in a character-actor bit), who with his wife run a little restaurant. Chambers works his way into not just Papadakis's good graces as a worker, but Cora's undergarments as well, so to speak. Soon a plot thickens between the two lovers over what to do with the other. Right out of the best film-noir, there's quite a sequence that spins as their scheme unfolds, which includes money as well as each other. That everything doesn't go quite to plan makes this film both captivating and cool, while sometimes frustrating.

Here Rafelson has his cast really locked in place like it can't go wrong. Nicholson as a street-wise tough guy who falls for a woman with whom there's immediate, sexual magnetism, but also has some flaws that come with the package- almost too easy for him but not a bad performance. Lange brings some dimension to a character that could be either a real prize or a true femme fatale. And character actors like Michael Lerner (only better in Barton Fink) and even featuring Angelica Huston in an early performance, add some good weight to the cast. The sex scenes years later are still enticing, and the ending is a true whopper that is part of the story's best catharsis, though in its own formula still tragic. If then it doesn't feel really as successful as the best noir of the 40s and 50s its almost hard to say. Sometimes scenes kinds of come and go, and the flow of the story sometimes gets jammed up after the midway mark goes by. It turns more into a domestic drama than something more exciting in the suspenseful turns early on. Just when Rafelson has his crew working to put life into some scenes, a few are a little flat in comparison.

Still, even if you have seen the original 40s takes on Cain's novel, it's never less than interesting what goes on thanks to the nature of the story. It's a look at very flawed, psychologically cruxed people who attempt at happiness in ways that change them for worse and for better (possibly more the former). Occasionally the sex could be in danger of veering off the more stylish side of the lust in the 40s noirs into soft-core land, but it's balanced out by its general professionalism and the acting randing from so-so-to-better-than-average. It's a like it or hate it film.

I have not seen the "original" from 1946 but anyway - I am not into black-and-white movies, with the exception of those with Chaplin and Lloyd perhaps. Thus, I decided to watch the one in question, besides, Jack Nicholson (as Frank Chambers) and Jessica Lange (as Cora Smith/Papadakis) are much more known and admired by me than John Garfield and Lana Turner... Their performances were really good (although not among their best), they had sizzling mutual chemistry, but it seems that the topic/script has become timeworn, seen at present as a rather trivial crime thriller, as the main theme - lovers trying to get rid of (rich) husband - has been exploited a lot. The plot does not run smoothly and the inclusion of e.g. Anjelica Huston as Madge Gorland did not provide any additional value; on the other hand, bigger inclusion of past history of the protagonists could have been interesting. The ending was also too abrupt and when the end credits appeared, one could feel confusion about the meaning of the title.

A remake of the 1946 film, this version features Jack Nicholson and Jessica Lange, with a momentous white hot chemistry that can't possibly sustain itself but affords a memorable scene in the restaurant kitchen about ten minutes into the film which leads to the eventual plot to do in her older Greek husband. A story wherein neither would have the nerve to do such a thing alone, but together they make a job of it on one of the darkest nights and darkest rural roads ever. The trial for the murder features another couple of great performances by Michael Lerner as the resourceful to a fault defense attorney (if you were on trial for your life, you'd want this guy for a lawyer), and his investigator who becomes a menacing presence later in the film, played by John P Ryan. Very nicely photographed in color, it's set in the coastal hills and valleys north of LA, dotted with live oaks and capturing the rich earthy tones of the late afternoon golden hued hillsides that nicely contrast with the desperate story of the two lovers.

Bob Rafelson's 'The Postman Always Rings Twice' is a crazy classic from the early 80's. A strange film, with lust as it's priority. Honestly, what was this! 'The Postman Always Rings' starts off as a hardcore horny film, then it suddenly turns to a courtroom drama for a while, and a finally a love-story.

This is a remake of a film that was made in the 40's, with the same name. Though I haven't seen that yet, I am sure it's better than this!

When I say the word classic, I don't really mean it. If there is anything that really works in this film, it's the performances by it's lead cast. Jessica Lange steals the show a sultry performance. An Icredible performer, who's body of work goes down as remarkable efforts in the history of filmdom. Jack Nicholson is, as always, superb. The actor who has excelled in each & every film really needs no mentioning.

If you dare to watch this crazy classic, watch it for Lange & Nicholson, who not only deliver killer performances, but also deliver first-rate sex-scenes. That's about it!

I have not yet seen the original but definitely planning on it so as to make sense of whatever happened in this film. An extremely uninteresting couple of unrealistic characters, with no arc, nothing to distinguish them other than a woman in love, and an ambigiously untrustworthy man. The abstract plot, apart from this film, is undeniably exciting. However, as a film, it does not work out to be remotely gripping. From moment to moment: the film jumps without rhythm through its plot points in an almost tangental and inconsequential fashion. It becomes clear from the immediate and unexplainable first sex scene that this film does not care for pacing nor its characters. Frank and Cora interact laboriously, with sparse and insignificant light-weight dialogue that fails to 'flesh them out'. Production design, acting and cinematography are all at par or better, but suffers in every other direction.

In the 1920s drifter Frank Chambers (Jack Nicholson) starts doing odd jobs for an alcoholic cafe owner Nick (John Colicos). He then meets Nick's sexy young wife (Jessica Lange). Sex and murder follow.

The 1946 version was perfect so, naturally, Hollywood had to redo it. They claimed the original had to be toned down because of the Hays Code (this is true). This version is true to the book--but bad casting and a SLOW pace destroy it. For starters Nicholson is far too old for the role--they needed someone in his 20s or 30s. It seems ridiculous that Lange would fall for someone like him. Also Lange was, at that point, still learning as an actress. She's not terrible but not as good as she usually is either. The sex scenes (which were promoted nonstop during the films production) aren't much. They're more violent than erotic and seriously--do YOU want to see Nicholson nude? Also the story is morbid and slow-moving--I was seriously bored and depressed halfway through. Nicholson manages to throw in one of his worst performances and, as I said before, Lange isn't that good.

This was a major bomb (for some reason the studio chose to release this around Christmas!) and has rightfully been forgotten. A 1.