Christie sparkles in 'Afterglow'

REVIEW
	Afterglow At Theaters everywhere

Adulterous affairs rank high as one of the most common motifs in movies nowadays, which in turn makes it all the more difficult for directors to creatively derive a scenario that intrigues the audience.

Such is the case in Alan Rudolph's latest film, "Afterglow." The plot, which deals with the distraught existences of four individuals and how their lives inevitably intertwine through scandalous rendezvous, is subtle, intriguing and seductive.

Montreal, the setting of the film, is a place where lapsing into a little French dialect adds some mystery and romance to people's lives. Two characters are first presented, the wealthy, on-par-with-modernity (both technologically and artistically) couple Marianne (Lara Flynn Boyle) and Jeffrey (Jonny Lee Miller). The movie's strong emphasis on the interior design of their home reflects their personalities: high-tech remote controls, contemporary furniture and impeccable orderliness by the husband's demand.

Handsome Jeffrey and attractive Marianne are a purely blissful duo. Jeffrey has an urge to live on the edge, and achieve what he calls "the impossible." He has a certain naughty infatuation with older, mature women, though, which illuminates his strict conservativeness with the sexual aspect of relationships.

Flirting with his middle-aged secretary, he then goes home to his wife where spontaneous love-making is last on his agenda.

Amidst all of Jeffrey's contradictions in personality, Marianne is hurt by the fact that Jeffrey isn't fulfilling all of her needs. She is insecure, and looks for an alternative thrill herself.

Her encounter with the plumber, Lucky Mann (Nick Nolte), ignites impending trouble. Lucky is married as well, to the mediocre actress-of-the-past, Phyllis (Julie Christie). A runaway child has destroyed their loving relationship, as Phyllis grieves over her lost one. Because she can't satisfy her husband, she implicitly, yet complacently, allows Lucky to have all the freedom to fulfill his sexual desires when on the job. In the meantime, Phyllis sits on the couch all day and watches her poor debuts in her old films with nostalgia, and visits doctors to complain of a sickness she doesn't have.

Things change when Phyllis' curiosity concerning Lucky's affairs reaches a new height. While spying on her husband at the Ritz Carlton one night, she coincidentally (and we forgive this remarkable coincidence for the sake of the intriguing presentation of the situation) meets Jeffrey, who is infatuated with the mature woman in a boyish manner.

The resulting clash between the two couples brings each individual to terms with their own issues, and the existentialist nature of their relationships. An intense scene between Nolte and Christie brings forth deeper aspects of life, that perhaps experiencing the "afterglow" of our joyful memories of the past is as necessary as dealing with the pains of the present.

Julie Christie is mesmerizing; one feels the anxious anticipation for every sentence to follow from her mouth. She is suave and sophisticated in a subtle manner, which makes her all the more interesting. Nolte's performance in "Afterglow" is also an imperative; without his piercing blue eyes and slightly crude yet seductive mannerisms, the stereotypical role of a plumber would be reduced to its basest and most lowly form.

Prevalent in "Afterglow" is the recurrence of deep, rich red colors that offer powerful, symbolic gestures. Primarily, it reflects the title of this movie, the "afterglow" in life, but also insinuates a veil-like screen that obstructs certain characters from emotionally either obtaining or releasing other people.

A fascinating peculiarity of "Afterglow" is how similar it is to last year's triumph, "The Ice Storm," both in content and context. Both movies centered on the tension between two adulterous couples, the only difference being that in "The Ice Storm," the duos were both middle-aged, and in "Afterglow," one is middle-aged and the other is young. The same existential quality with these couples is also evident. Lastly, both "The Ice Storm" and "Afterglow" employ similar themes illuminated through camera direction. The omnipresent stiff, cold ice motif in "The Ice Storm" parallels the red colors/veils theme from "Afterglow."

It is frustrating that there is just one small pitfall to this movie that could have otherwise elevated it to greater excellence. Along with the intense romance and seduction involved, there are sporadic witticisms to add entertainment value. There is, however, an overuse of double entendre jokes such as one instance when Phyllis questions Lucky one day after work, saying, "Did you have a good day, Lucky? Unclog a few tubes?" Also, while there was a certain degree of subtlety that can be appreciated, other times ideas were overly candid.

These minor weaknesses set aside, "Afterglow" is surely a winner, and though there may be some nostalgia from such remarkable similarities to "The Ice Storm" it is a rare display of seductive intrigue in its own right.

04-10-98