The Postman Always Rings Twice (1981)

 

A Passionate Pair Have A Murderous Affair…

 

A drifter takes a job at a roadside cafe as a mechanic. He starts an affair with the owner’s unhappy young wife with deadly consequences. 

 

The Postman Always Rings Twice (1981) Trailer, TheTrailerGal, http://www.youtube.com

 

Don’t adjust your sets, as those two white dots on the pitch black background are not a fault with your TV set. Soon after, two more lights will appear moving forward these, with these lights revealed to be a car driving through the night. The only other light from a newly lit cigarette revealing a hitchhiker with a suitcase. As the fabulous Art Deco fonts credits roll for our to be reviewed movie, The Postman Rings Twice (1981). This a film that sadly neglected in my Jack Nicholson Blogathon, and one of my favourite thriller films of this decade. As not only does it have this favourite actor in its cast, but it also has my favourite actress, Jessica Lange, with she and Nicholson in the roles of those scheming lovers Frank and Cora.  The film is a remake of the English-speaking film noir with the same name and starring John Garfield and Lana Turner  – in the Nicholson and Lange roles – made in 1946.

The film starts in a Depression hit California, with the hitchhiker thanking the driver for a lift as he stops to refuel at a cafe and garage. The driver was immediately recognised as Christopher Lloyd, Doc Brown from the Back to the Future film trilogy (1985-). Lloyd starred with Nicholson in his film debut in One Flew over the Cuckoo’s Nest (1975) and also starred with him in Goin’ South (1978). But this is not a Back to the Future movie by any means.

But I digress, the drifter Frank Chambers (Nicholson) invites the driver for a coffee and some food, but after soon after ordering his breakfast, Frank goes to freshen up.  He stalls his return, until he sees the driver leave. Frank claims he can’t pay for the meal as the driver had stolen his wallet, but he can send payment for his breakfast. That is if he is able to secure the job he was travelling to in Los Angeles for. But all details of this job are in the missing wallet.  However the genial, trusting Greek owner, Papadakis (John Colicos) takes a shine to him and offers him a job as a mechanic and with food and board thrown in. He introduces him to Cora (Lange), his much younger wife (to Frank’s obvious surprise).  Frank courteously thanks the cafe owner and his wife for the food and hospitality.

However, Frank agrees to Papadakis’ job offer and the pair of men get on well, and spend time laughing, joking and drinking together after work. One day as Papadakis discusses insurance with an agent, Frank oil stained from his work approaches Cora in the kitchen for soap. She appears flustered and he’s charming (in that irresistibly sexy way Nicholson always has (see The Witches of Eastwick (1987) and more). And there appears to be a strong sexual tension mounting between the pair.

During a storm, we see Cora is unhappy in her marriage to this older man and in her life with him. With Frank watching Cora’s shadow in the couple’s upstairs bedroom, she appears to argue with her husband one stormy night.  After the storm with Papadakis away on business, Frank visits Cora in the kitchen, she’s making bread. But he roughly grabs her and is violently and fiercely passionate with her as they make love on the kitchen table. After this act, the pair commence a turbulent affair.

Frank decides Cora and he should leave together for a new life together in Chicago, telling her to pack her bags when Papadakis leaves for an overnight trip to town. However en route, after Frank asks to gamble away their savings, Cora returns home. She then confronts a disappointed Frank on his return – with his winnings – telling him she’s trapped in her marriage, and with ominous, foreboding music she hints at a much darker solution. And as the tension increases on-screen.. the pair put a plan into action to murder Papadakis.

And more suspense is added and felt as we follow Cora up the stairs as the stairs chillingly and eerily creak as she moves towards the intended murder scene. Frank puts a ladder next to their upstairs bedroom for her getaway. These actions followed by an intense moment of suspense as she enters the bedroom to carry out the murder. The fantastic use of shadows in the filming of these scenes add to the film noir feel here. We then see Papadakis in the shower, also in silhouette. As Frank waits by the getaway car outside. Cora approaches her husband in the shower with the murder weapon… as a policeman on a motorcycle drives up and stops to talk to Frank. And to find out more, you can find out by fair means or foul….

This film is a wonderfully intense, dark and thrilling film noir which will keep you on the edge of your seat. The first half of the film concentrates on the three main characters Cora, Frank and Papadakis. This gives adequate time to establish and understand these characters as much more than the murderers as lovers and the victim. It shows Frank and Cora’s motives, their perceived benefits of the murder and the nature of their relationship. Intense and passionate, like this couple. We also understand Papadakis, is a true victim unaware of their ruthlessness believing the pair and not suspecting them of an illicit affair.

Once the murder has been orchestrated, we see the repercussions of this treacherous act on Frank and Cora’s lives and on their relationship, and we also meet more characters which add to this story. Including lawyers, insurance agents and Madge Gorman (Angelica Huston) as a wild cat trainer in a circus. This character is a more wild and almost zany departure from her original character brief from the 1946 version, who was then a girl who Frank meets at a train station. The inclusion of this character, shadowing doubt on Frank’s intentions towards Cora. This especially as more information is given about his life in this part of the movie. And leads to the dramatic ending to the movie.

Lange and Nicholson were fantastically cast and credible as the lovers. Lange has the right mix of vulnerability and ruthlessness. She transforms from a downtrodden, dowdy, unhappy but highly sensual but repressed, wife to Papadakis become a stronger character and passionate lover with Nicholson’s Frank. More so it appears – albeit from watching the trailer alone – with Lana Turner as an apparently more glamorous, wide eyed and conniving Cora. Nicholson – and John Garfield in that trailer – however is more difficult to read as you debate if he is he a man caught up in love and Cora’s planning or circumstances or if he has he a more calculating and ruthless side. However Nicholson is perfectly cast in this as his acting will easily portray all these attributes in a believable manner.

Colicos as Papadakis appears to be nothing more than a generous, trusting man, giving board and lodging to Frank. Trusting him and his wife so much that he leaves them alone while travelling on business. Papadakis appears to not realise, feel or see his wife’s unhappiness and her sexual frustration – before she and Frank get together – with him only appearing playfully amorous towards her when he is drunk. These realisations and more revelations will come to you as the movie progresses…

The musical score by Michael Small is also outstanding in supporting the story lines with the right mix of thriller and suspense.  The costumes and the time period for the original story is kept and portrayed in outstanding detail. These adding to the film noir feel of the movie much more than an updated version would have. With Nicholson donning a fedora (or Trilby?) and suit once more he just exudes that 1930s look. However the film’s ending has been criticised as not being as affective as the original, and thus explains the title. I believe that this may be true, however I believe this 1981 ending – without giving the plot away – and is more foreboding and therefore more enigmatic than the original. However it is the chemistry of the leads Nicholson and Lange, be it in their in turns as passionate, brutal or more tender lovers and as trusting and non trusting with each other in their tumultuous relationship, that for me make this truly an affair to remember.

 

Weeper Rating:  😦 😦 😦😦 😦 😦 😦 /10

Handsqueeze Rating🙂 🙂 🙂 🙂 🙂🙂 🙂 🙂10

Hulk Rating: ‎ ‎mrgreen mrgreen/10

Bonus Trailer:  Yes, for the 1946 Lana Turner and John Garfield version.

 

The Postman Always Rings Twice (1946) – Trailer, Warner Bros, www. youtube.com

 

The Till Death Us Do Part Blogathon, No 39

This post was added to Cinemaven’s Essays from the Couch Till Death Us Do Part Blogathon. Other posts with this cast include Tootsie with Jessica Lange. Jack Nicholson stars in my Terms of Endearment, Batman, Witches of EastwickOne Flew over the Cuckoos Nest, Mars Attacks and As Good As It Gets Reviews. He also features as the star of my 2017 blogathon Here’s Jack.

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22 thoughts on “The Postman Always Rings Twice (1981)

  1. Some say this version is truer to the novel than the Garfield-Turner version, and it was good to read your analysis of this later film. I admit I’m not a huge fan of the earlier version, so I’ve always avoided this later one – Jack Nicholson notwithstanding. However, now that I’ve read your review, I’ll have to give this one a go. Thanks! 🙂

    Liked by 1 person

  2. Wow, after watching the trailer, this looks about ten times more intense than the 1946 version. It seems to capture that more primal passion that Cain wrote about in his book. I am really curious about the ending, too.

    Thanks for sharing!

    Liked by 1 person

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