The Postman Always Rings Twice

Nicholson and Lange make a class act, and the film does restore the overt sexuality missing from the 1946 version. But, disappointingly given his excellent track record with films like Five Easy Pieces, The King of Marvin Gardens and Stay Hungry, Bob Rafelson tries to make art out of high-grade pulp, with a resultant loss of energy. Read full review

Miss Lange is not a bad actress, but her miscasting is fatal to the picture and exemplifies its tiresomely genteel artfulness. Read full review

The film does, however, feature revealing performances from its leads, authentic production design, and atmospheric photography by Sven Nykvist. Read full review

The impulsiveness and raw flamboyance that make the book exciting are missing, and the cool, elegant visuals outclass the characters right from the start.

Nicholson looks severly overmatched against Lange but the basic problem is that the filmmakers miss the mutuality of the obsession envisioned by Cain -- an attraction that enslaves Frank and Cora, inspiring murder and betrayal in the wake of adulterous passion. [20 March 1981, p.C1]

If they merely wanted to retell a good tale, they've failed. The first half of "Postman" succeeds in building up an atmosphere of dread and throttled desire as Nicholson and Lange circle their prey (John Colicos). But after the dramatic turnarounds of the trial, the film goes slack. Just when Mamet's script should be tightening the screws, it grows diffuse, introducing unnecessary characters while unaccountably lopping off Cain's original ending, without which the title is inexplicable. Rafelson's increasingly plodding, stagy direction doesn't help: he emphasizes the mechanics of Cain's plot when it needs to be disguised. [23 March 1981, p.81]