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Basic Instinct (1992)
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Overview
User Rating:
Release Date:
20 March 1992 (USA) moreTagline:
A brutal murder. A brilliant killer. A cop who can't resist the danger. morePlot:
A police detective is in charge of the investigation of a brutal murder, in which a beautiful and seductive woman could be involved. full summary | full synopsisAwards:
Nominated for 2 Oscars. Another 5 wins & 16 nominations moreNewsDesk:
(199 articles)
What's On: Rihanna and Chris Brown Face Off With Dueling, Album-Plugging Tell-Alls (From Movieline. 6 November 2009, 10:00 AM, PST)
Part One of Rihanna's Good Morning America Interview is Emotional, Honest, and Exactly Like Basic Instinct
(From Movieline. 5 November 2009, 8:45 AM, PST)
User Comments:
sleazy, amoral and worryingly entertaining more (228 total)US TV Schedule:
| Thur. Nov. 19 | 12:20 AM | MAX |
Cast
(in credits order) (verified as complete)
Directed by | |||
| Paul Verhoeven | |||
Writing credits(WGA) | ||
| Joe Eszterhas | (written by) | |
Produced by | |||
| William S. Beasley | .... | associate producer | |
| Louis D'Esposito | .... | associate producer | |
| Mario Kassar | .... | executive producer | |
| Alan Marshall | .... | producer | |
Original Music by | |||
| Jerry Goldsmith | |||
Cinematography by | |||
| Jan de Bont | (director of photography) (as Jan De Bont) | ||
Film Editing by | |||
| Frank J. Urioste | |||
Casting by | |||
| Howard Feuer | |||
Production Design by | |||
| Terence Marsh | |||
Costume Design by | |||
| Nino Cerruti | |||
| Ellen Mirojnick | |||
Makeup Department | |||
| Audrey L. Anzures | .... | hair stylist | |
| Rob Bottin | .... | special makeup effects designer and creator | |
| Catherine Childers | .... | hair stylist: second unit, San Francisco | |
| Catherine Childers | .... | makeup artist: second unit, San Francisco | |
| Laura De'Atley | .... | body makeup: Los Angeles (as Laura De' Atley) | |
| David Forrest | .... | makeup artist: Los Angeles (as David Craig Forrest) | |
| Virginia G. Hadfield | .... | additional hair stylist: Los Angeles | |
| Paul LeBlanc | .... | hair stylist: Los Angeles (as Paul Le Blanc) | |
| Vincent Prentice | .... | special makeup effects artist | |
Production Management | |||
| William S. Beasley | .... | unit production manager | |
| Cliff T.E. Roseman | .... | unit supervisor: second unit, San Francisco (as Clifford Roseman) | |
| Michael R. Sloan | .... | post-production supervisor | |
Art Department | |||
| Dick Anderson | .... | construction gang boss: Los Angeles (as Richard Anderson) | |
| Kristin Argue | .... | drapery | |
| Sharon Barnebey | .... | construction gang boss: Los Angeles | |
| Roy Barnes | .... | assistant art director: Los Angeles | |
| Mark Bates | .... | construction gang boss: Los Angeles | |
| Stephen Myles Berger | .... | set designer: Los Angeles (as Steve Berger) | |
| James Bergmann | .... | construction gang boss: Los Angeles | |
| Mark Billerman | .... | art director: San Francisco | |
| Jonathan Bobbitt | .... | swing gang: Los Angeles (as Jonathan Bobbit) | |
| Chris Chichotka | .... | construction foreman: Los Angeles | |
| Randy L. Childs | .... | propmaker gangboss | |
| Jennifer Clinard | .... | stand-by painter: San Francisco | |
| Richard W. Clot | .... | construction coordinator: San Francisco (as Rich Clot) | |
| Raymond F. Cooper | .... | construction gang boss: Los Angeles (as Raymond Cooper) | |
| Rosemary De Cicco | .... | construction gang boss: Los Angeles | |
| B.J. Fredrickson | .... | scenic artist: San Francisco | |
| Dick Girod | .... | paint foreman: Los Angeles (as Richard Girod) | |
| William Girod | .... | stand-by painter: Los Angeles (as William L. Girod) | |
| Ruby Guidara | .... | swing gang: Los Angeles (as Diana Guidara) | |
| Augustin Hernandez Jr. | .... | construction gang boss: Los Angeles | |
| Stephen Hessel | .... | art department assistant: San Francisco | |
| Karen Higgins | .... | general construction foreman: Los Angeles (as Karen Higgens) | |
| Daniel Kelly | .... | construction foreman: Los Angeles | |
| Gary F. Kieldrup | .... | assistant property master: Los Angeles (as Gary Kieldrup) | |
| Steven Kissick | .... | construction gang boss: Los Angeles (as Steve Kissick) | |
| Anne Kuljian | .... | set decorator: Los Angeles | |
| Mary Ellen Leonard | .... | set dressing assistant: San Francisco | |
| David Lowery | .... | illustrator: Los Angeles | |
| Gregory Lynch Jr. | .... | carpenter | |
| Sean R. MacCaul | .... | construction foreman: Los Angeles (as Sean Maccaul) | |
| Brad Martinez | .... | swing gang: San Francisco (as Bradley T. Martinez) | |
| Stacey S. McIntosh | .... | construction coordinator: Los Angeles (as Stacey McIntosh) | |
| Augustine Mendez Jr. | .... | construction foreman: Los Angeles | |
| Barbara Mesney | .... | set designer: San Francisco | |
| Ervin Miller | .... | construction gang boss: Los Angeles | |
| Ray Mondoux | .... | assistant construction coordinator: San Francisco (as Raymond E. Mondoux) | |
| Joseph Musso | .... | production illustrator | |
| George L. Oldham | .... | swing gang: San Francisco | |
| Paul Olson | .... | assistant props: second unit, San Francisco | |
| Dennis J. Parrish | .... | property master: Los Angeles | |
| Hope M. Parrish | .... | assistant props: Los Angeles | |
| Thomas Power | .... | art department assistant: Los Angeles (as Tom Power) | |
| Randall Prochaska | .... | construction gang boss: Los Angeles (as Randall Prochasskka) | |
| Melinda Ritz | .... | assistant set decorator: Los Angeles | |
| Bert Rodriguez | .... | construction gang boss: Los Angeles | |
| Gary E. Roloff | .... | leadman: San Francisco (as Gary Roloff) | |
| Mark Seay | .... | construction foreman: Los Angeles | |
| Wayne Shepherd | .... | lead man: Los Angeles | |
| Craig T. Shordon | .... | painter: Los Angeles (as Craig Shordon) | |
| Michelle Souza | .... | assistant props: San Francisco (as Michele L. Souza) | |
| Rob Stevens | .... | construction estimator: Los Angeles | |
| Brian Swanson | .... | construction gang boss: Los Angeles | |
| Louis Terry | .... | swing gang: Los Angeles | |
| Keith Urban | .... | general foreman: San Francisco | |
| Richard Wheeler | .... | propmaker: Los Angeles | |
| Matthew Whitting | .... | swing gang: San Francisco (as Matthew Witting) | |
| Lyndell Wolff | .... | carpenter | |
| Aaron Zajac | .... | assistant props: Carmel (as Aaron J. Zajac) | |
| J. Michael Davis | .... | set dresser (uncredited) | |
| Michael Meier | .... | carpenter (uncredited) | |
| Jeffrey Whitman | .... | carpenter (uncredited) | |
Sound Department | |||
| David A. Arnold | .... | dialogue editor | |
| Ron Bartlett | .... | sound effects editor | |
| Dean Beville | .... | foley editor | |
| John Brilhante | .... | sound re-recordist (as John W. Brilhante) | |
| Carlos Delarios | .... | re-recording mixer (as Carlos de Larios) | |
| Susan Dudeck | .... | dialogue editor | |
| John Dunn | .... | sound effects editor | |
| Donald Flick | .... | sound effects editor | |
| Judee Flick | .... | foley editor | |
| Stephen Hunter Flick | .... | sound effects editor | |
| Barbara Gandolfo-Frady | .... | adr assistant | |
| Nerses Gezalyan | .... | foley recordist | |
| Douglas Greenfield | .... | stereo consultant: Dolby (as Doug Greenfield) | |
| Scott Hecker | .... | supervising dialogue editor (as Scott A. Hecker) | |
| Edward J. Hernandez | .... | dubbing engineer (as Eddie Hernandez) | |
| Mauriece Jacks Jr. | .... | cableman: Los Angeles (as Maury Jacks) | |
| Ken Johnson | .... | sound effects recordist (as Ken S. Johnson) | |
| Doug Kent | .... | assistant dialogue editor (as Douglas Kent) | |
| Michael J. Kohut | .... | re-recording mixer | |
| Nicholas Vincent Korda | .... | adr editor (as Nick Korda) | |
| Dan O'Connell | .... | foley | |
| Thomas J. O'Connell | .... | adr mixer (as Tom O'Connell) | |
| Greg Orloff | .... | foley mixer (as Gregg Orloff) | |
| Donald Ortiz | .... | assistant sound effects editor | |
| Sonny Pettijohn | .... | assistant sound effects editor | |
| John Pospisil | .... | special sound effects | |
| Eric Potter | .... | sound effects recordist | |
| Charleen Richards | .... | adr mixer (as Charlene Richards) | |
| Aaron Rochin | .... | re-recording mixer | |
| Geoffrey G. Rubay | .... | sound effects editor (as Geoffry G. Rubay) | |
| Fred Runner | .... | boom operator | |
| Fred Runner | .... | sound recordist: Los Angeles | |
| Norman B. Schwartz | .... | adr supervisor | |
| Dan Sharp | .... | sound re-recordist (as Daniel Sharp) | |
| Michael R. Sloan | .... | post-production sound supervisor | |
| Alicia Stevenson | .... | foley (as Alicia Svenson) | |
| Nelson Stoll | .... | production sound supervisor: Los Angeles | |
| Marvin Walowitz | .... | sound effects editor | |
| Rosemarie Wheeler | .... | adr editor | |
Special Effects by | |||
| John Frazier | .... | special effects coordinator: Los Angeles | |
| Bruce Y. Kuroyama | .... | special effects technician | |
| Steve Riley | .... | special effects technician | |
| James D. Schwalm | .... | special effects gang boss: Los Angeles | |
| Harold Selig | .... | special effects assistant: Los Angeles (as Hal Selig) | |
| Roland Blancaflor | .... | special effects technician: Rob Bottin Productions (uncredited) | |
| Becky Ochoa | .... | special effects crew (uncredited) | |
Visual Effects by | |||
| Henry Alvarez | .... | visual effects crew: Rob Bottin | |
| Rob Bottin | .... | special visual effects | |
| James Clark | .... | visual effects crew: Rob Bottin | |
| William Cruse | .... | optical consultant: Los Angeles, Cruse & Co. (as Bill Cruse) | |
| Fernando Favila | .... | visual effects crew: Rob Bottin | |
| Gunnar Ferdinandsen | .... | visual effects crew: Rob Bottin (as Gunner Ferdinandsen) | |
| Peter Kuran | .... | opticals: V.C.E., Inc. | |
| Art Pimentel | .... | visual effects crew: Rob Bottin | |
| Margaret Prentice | .... | visual effects crew: Rob Bottin | |
| Vincent Prentice | .... | visual effects crew: Rob Bottin | |
| Tom Prosser | .... | visual effects crew: Rob Bottin | |
| Sam Sainz | .... | visual effects crew: Rob Bottin | |
| Russell Shinkle | .... | visual effects crew: Rob Bottin (as Russ Shinkle) | |
| Dawn Shirlock | .... | visual effects crew: Rob Bottin | |
| Loren Soman | .... | visual effects crew: Rob Bottin | |
| Wayne Strong | .... | visual effects crew: Rob Bottin | |
| Pam Vick | .... | rotoscope animation: VCE | |
| Pam Vick | .... | rotoscope artist | |
| Todd Weslow | .... | visual effects crew: Rob Bottin | |
| Al Magliochetti | .... | visual effects (uncredited) | |
Stunts | |||
| M. James Arnett | .... | stunt coordinator | |
| Seth Arnett | .... | stunt player | |
| Sandy Berumen | .... | stunt double: Ms. Stone | |
| Janet Brady | .... | stunt double: Ms. Sarelle | |
| Rocky Capella | .... | stunt player | |
| Steven Chambers | .... | stunt player (as Steve Chambers) | |
| Janeen Damian | .... | stunt player (as Janeen Best) | |
| Mike De Luna | .... | stunt player (as Mike DeLuna) | |
| Justin De Rosa | .... | stunt player (as Justin DeRosa) | |
| Gary Epper | .... | stunt player | |
| Jon H. Epstein | .... | stunt coordinator | |
| Jon H. Epstein | .... | stunt player (as John Epstein) | |
| Donna Evans | .... | stunt double: Ms. Stone | |
| Marian Green | .... | stunt player | |
| Tommy J. Huff | .... | stunt player (as Tom Huff) | |
| Maria R. Kelly | .... | stunt player (as Maria Kelly) | |
| Janet Lee Orcutt | .... | stunt player (as Janet Orcutt) | |
| Manny Perry | .... | stunt player | |
| Randy Peters | .... | stunt player | |
| Charlie Picerni | .... | stunt coordinator (as Charles Picerni) | |
| Michael Runyard | .... | stunt double: Mr. Douglas | |
Casting Department | |||
| Judith Bouley | .... | casting: San Francisco | |
| Aslihan Coker | .... | casting associate | |
| Jakki Fink | .... | casting assistant (as Jaclyn Fink) | |
| Mariann H.W. Lee | .... | extras casting | |
Costume and Wardrobe Department | |||
| Michael Becker | .... | costumer: men, San Francisco | |
| Michael Dennison | .... | costume supervisor: Los Angeles | |
| Nancy Foreman | .... | wardrobe seamstress: San Francisco | |
| Deborah Hopper | .... | costume supervisor: women, Los Angeles | |
| Anthony J. Scarano | .... | costumer: men, Los Angeles (as Anthony Scarano) | |
Editorial Department | |||
| John Bickford | .... | dailies advisor | |
| Derek Brechin | .... | first assistant editor (as Derek G. Brechin) | |
| Noori Dehnahi | .... | post-production coordinator | |
| Douglas Kunin | .... | editorial production assistant | |
| Teressa Longo | .... | second assistant editor | |
| Bob Putynkowski | .... | color timer | |
| Marianne Urioste | .... | apprentice editor | |
Music Department | |||
| Bruce Botnick | .... | music mixer | |
| Bruce Botnick | .... | music recordist | |
| Bart Brown | .... | music researcher | |
| Lois Carruth | .... | assistant to composer: Mr. Goldsmith | |
| Alexander Courage | .... | orchestrator | |
| Robin Glenn | .... | music coordinator | |
| Jerry Goldsmith | .... | conductor | |
| Kenneth Hall | .... | music editor (as Ken Hall) | |
| Suzanne Hayden | .... | music consultant: club music | |
| Tom Hayden | .... | music consultant: club music (as Tom) | |
| Harry Shannon | .... | music supervisor | |
Thanks | |||
| Robin Eickman | .... | acknowledgment: this motion picture was made with the help of | |
| Dennis Schardt | .... | acknowledgment: this motion picture was made with the help of, The San Francisco Police Department (as Lt. Dennis Schardt) | |
| Warren White | .... | acknowledgment: this motion picture was made with the help of, The Golden Gate National Recreation Area (as Ranger Warren White) | |
Production Companies
- Carolco Pictures (producer) (as Carolco)
- Canal+ (producer) (as Le Studio Canal+)
- TriStar Pictures (1992) (USA) (theatrical)
- Alliance Atlantis Communications (1992) (Canada) (theatrical)
- Ascot Elite Entertainment Group (1992) (Switzerland) (theatrical)
- Columbia TriStar Films AB (1992) (Sweden) (theatrical)
- IPA Asia Pacific (2002) (Thailand) (theatrical)
- Intercontinental Film Distributors (HK) (1992) (Hong Kong) (theatrical)
- International Film Distribution Consultants (1992) (non-USA) (theatrical)
- Panasia Films (1992) (Hong Kong) (theatrical)
- Penta Film (1992) (Italy) (theatrical)
- Scotia International Filmverleih (1992) (Germany) (theatrical)
- Svenska Filminstitutet (SFI) (1992) (Sweden) (theatrical)
- Union Générale Cinématographique (UGC) (1992) (France) (theatrical)
- Alliance Atlantis Home Video (2001) (Canada) (DVD)
- Araba Films (Spain)
- Artisan Entertainment (1999) (USA) (VHS)
- Artisan Home Entertainment (2001) (USA) (DVD)
- Columbia TriStar Film Distributors International (Argentina)
- Columbia TriStar (Brazil) (DVD)
- Finnkino (1992) (Finland) (all media)
- Kinowelt Home Entertainment (2002) (Germany) (DVD)
- LK-TEL Vídeo (Brazil) (VHS)
- LK-TEL (Argentina) (video)
- Live Entertainment (1992) (USA) (laserdisc)
- Live Entertainment (1997) (USA) (DVD)
- Live Video (video)
- Maple Pictures (2007) (Canada) (DVD)
- Momentum Pictures (2002) (UK) (DVD)
- Momentum Pictures (2007) (UK) (DVD) (HD-DVD)
- Momentum Pictures (2008) (UK) (DVD) (Blu-ray)
- Pioneer Entertainment (1993) (USA) (laserdisc)
- Roadshow Entertainment Video (Australia) (VHS)
- Roadshow Entertainment
- Universal Pictures (Spain) (2002) (Spain) (DVD)
- Universal Pictures Benelux (2007) (Netherlands) (DVD) (HD-DVD)
- Universal Pictures Benelux (2008) (Netherlands) (DVD) (Blu-Ray Disc)
- Universal Pictures Nordic (2005) (Sweden) (DVD)
- Universal Pictures Nordic (2006) (Sweden) (DVD)
- Universal Pictures Nordic (2007) (Sweden) (DVD) (HD-DVD)
- Universal Pictures Nordic (2008) (Sweden) (DVD) (Blu-ray)
- VCL Communications (Germany) (video)
- Cruse & Company (optical consultant: Los Angeles) (as Cruse & Co.)
- Dreamstate Effects
- Albert G. Ruben and Company production insurance provided by (as Albert G. Ruben & Company)
- Angel's Food Service caterer: San Francisco
- Artists Rights Society the producers gratefully acknowledge: paintings by Pablo Picasso © copyright 1992 (as ARS N.Y.)
- Banker's Trust New York Corporation financial services (as Bankers Trust Company)
- C & F Motion Picture Security location security: San Francisco (as C & F Security)
- Cenex Casting extras casting: Los Angeles
- Cerruti 1881 the producers gratefully acknowledge (as Cerruti 1881, Paris)
- Charing Cross Sound adr voice casting
- Chemical Bank financial services
- Cinema Research opticals by (as Cinema Research Corporation)
- Columbia Pictures Television courtesy of (clip from "THE JEFFERSONS" Copyright © 1992 by: ELP Communications. All Rights Reserved.)
- Complete Film Corporation completion bond services provided by
- Dell Books the producers gratefully acknowledge (as Dell Publishing - Bantam Doubleday Dell Publishing Group, Inc.)
- Dennis Davidson & Associates Public Releations (DDA) public relations (as Dennis Davidson Associates)
- Dolby Laboratories sound post-production
- Donah Bassett and Associates negative cutting (as Donah Bassett & Associates)
- Golden Gate National Recreation Area acknowledgment: this motion picture was made with the help of (as The Golden Gate National Recreation Area)
- International Alliance of Theatrical Stage Employees (IATSE) this picture made under the jurisdiction of (as I.A.T.S.E.®)
- Kieselstein-Cord International the producers gratefully acknowledge: jewelry by (as Barry Kieselstein-Cord)
- Lotus Cars the producers gratefully acknowledge: Lotus cars furnished by
- Monterey County Film Commission acknowledgment: this motion picture was made with the help of (as The Monterey County Film Commission)
- Movie Movers star trailers
- New American Library read the book by
- Prometheus Records score album released by
- Rogers & Cowan product placement services
- San Francisco Police Department acknowledgment: this motion picture was made with the help of (as The San Francisco Police Department)
- Société de la Propriété Artistique et des Dessins et Modules (SPADEM) the producers gratefully acknowledge: paintings by Pablo Picasso © copyright 1992 (as SPADEM)
- Sony Pictures Studios re-recorded at
- Take Five Catering caterer: second unit, San Francisco
- Time Magazine the producers gratefully acknowledge: People Weekly magazine logo and trademark used with permission of (as The Time Inc., Magazine Company)
- Trans Atlantic Entertainment courtesy of (clip from 'HELLRAISER')
- Varèse Sarabande original soundtrack available on (as Varèse Sarabande Compact Discs and Cassettes)
- Visual Concept Engineering (VCE) opticals by (as V.C.E., Inc.)
- Whitfield Street Studios music recorded at (as The Hit Factory - London)
Additional Details
Also Known As:
Basic Instinct (France)Ice Cold Desire (Singapore: English title) (censored version)
Love Hurts (USA) (working title)
more
MPAA:
Rated R for strong violence and sensuality, and for drug use and language.Parents Guide:
View content advisory for parentsRuntime:
127 min | USA:128 min (unrated version)Language:
EnglishColor:
Color (Technicolor)Aspect Ratio:
2.35 : 1 moreCertification:
Malaysia:(Banned) | Canada:18 (Nova Scotia) (re-rating) (2001) | Canada:R (Nova Scotia) (original rating) | Canada:R (Manitoba/Ontario) (also director's cut) (Canadian Home Video rating) | Singapore:PG (video rating) (heavily cut) | USA:R (#31380) | Singapore:R21 (re-rating) (2007) | Finland:K-16 (video rating) (cut) (1992) | Finland:K-18 (theatrical rating) (1992) | Singapore:R(A) (cut) (1992) | Hungary:18 | India:A | Brazil:18 | Israel:18 (video rating) | Israel:X (original rating) | Philippines:R-18 | Norway:15 (DVD rating) | Argentina:18 | Australia:R | Belgium:KNT | Canada:18+ (Quebec) (also director's cut) | Chile:18 | France:-12 (re-rating) | France:-16 (original rating) | Germany:16 | Hong Kong:III | Ireland:18 | Italy:VM14 | Netherlands:16 | New Zealand:R18 | Norway:18 | Peru:18 | Portugal:M/18 | South Korea:18 | Spain:18 | Sweden:15 | UK:18 | USA:Unrated (director's cut) | Mexico:C | Iceland:16Fun Stuff
Trivia:
According to Sharon Stone, director Paul Verhoeven asked her to remove her underwear for the leg-crossing scene, as he said they were too bright and reflected at the camera. Stone agreed to do so under the assumption that her genitals weren't visible. It was only at an early preview that Stone discovered Verhoeven chose to use this specific shot. Stone was mainly cross with Verhoeven for not discussing the matter with her beforehand, but decided to let the scene go without changes, as she felt this conformed with her movie character. However, Verhoeven's version of the conflict is that he told Stone beforehand about the leg-crossing shot, as it was important for showing Catherine Tramell's free-spirited nature and her constant drive to toy with people. Stone was reportedly excited about the idea and shot the scene. However, during the early preview, her agents supposedly disproved of the scene, fearing it would harm her future career. According to Verhoeven, Stone radically changed her mind about the shot and demanded that he remove it, which he ultimately refused. moreGoofs:
Factual errors: When Nick calls up Hazel Dobkin's police record it states that she was released from San Quentin in 1965. San Quentin has been men only since 1934. moreSoundtrack:
Movin' On Up moreFAQ
What are the differences between the theatrical version and the Unrated Director's Cut?I think I saw Sharon Stone's vagina. Am I seeing things?
What is the film playing in the background on TV that Nick is watching?
more
more (228 total)
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How does one begin a review of what is arguably the most controversial movie of the 90's? Perhaps I should start by saying that although Basic Instinct is complete trash with nothing residing beneath its glitzy surface(despite the claims of Camille Paglia there are NO subliminal meanings and the phallic symbolism of the ice pick is purely coincidental) it's also a riveting psychological thriller with Doublas and Stone providing an impressive double in a refreshingly gripping film.
I will not go deeply into plot detail, as the story is practically part of hollywood folklore, but in summary volatile cop Nick Curran(Michael Douglas) falls in love with murder suspect Catherine Trammell(Sharon Stone) who may,or may not, have brutally murdered her lover with an ice pick. If the plot sounds familiar its probably due to the fact that Basic Instinct is essentially a combination of writer Joe Eszthera's film 'Jagged Edge' and director Paul Verhoeven's film 'The Fourth Man', both of which had their fair share of sex and fashionable violence. Despite this Basic Instinct still is enjoyable and having seen either of those films will have no affect on the unpredictability of the film.
At the centre of the film is Stone's performance which is actually quite superb(though in the long run this film's been more of a curse than a blessing to her film career)as although she's easily the least probable femme fatale ever to grace(or poison to be more accurate) the silver screen, Stone plays her with such zeal that we can't take our eyes off her. That said it should also be pointed out that she becomes rather less intriguing after the first 40 minutes when she becomes involved with Michael Douglas, as her character loses a great deal of her mystique and her personality has less bite. Then of course is the infamous scene (which practically every other reviewer has mentioned and I am going to be no exception) where Tramell is being interrogated by the police and coolly turns the tables on them by exploiting their libidos and reducing them to drooling idiots, totally ridiculous but easily the film's best scene and certainly one that is not going to be soon forgotten (no doubt to the chagrin of Sharon Stone).
The rest of the cast are fine, with Michael Douglas doing the character he does best(the rather thuggish white male who constantly gets involved with the wrong kind of woman), Jeanne Tripplehorn doing an adequate job as Nick's pyschologist and George Dzunda manages to be the only half-way likable character in the movie as Curran's best(and only)friend. Unfortunately Leilani Sarelle is under-used as Catherine Trammell's enigmatic girlfriend(I forgot to mention Catherine's Bi-sexual).
The film is, of course, not without flaws. No-one (not even the director) could deny that Basic Instinct has such big plot holes you could park a car in them as for some of the events in the film to make sense characters would need to be either clairvoyant or in possession of other-worldly powers. The endings also a bit of a cop out (no I WON'T reveal it) as it was clearly engineered so that it could be easily changed with a single edit if preview audiences were unsatisfied with it.
It is also impossible to ignore the huge controversey that surrounded the films release with a particulair furor being caused by feminists and lesbians over their portrayal in the film. In truth the jury's still out on wether Basic Instinct is homophobic, but I personally don't think it is as the characters' sexuality is never really an issue although in fairness it is used as a somewhat cheap plot device to titillate the audience. The case made by feminists is much stronger as all the women in the film are portrayed as dubious and potentially dangerous. The main defence against all this is that, frankly, all the characters are unpleasent and devious , with perhaps one exception, and no discrimination is given in any way. The other issue was, of course, the sex scenes which ,although explicit, are really rather passé these days.
The film is stylishly filmed, expertly paced, brilliantly directed and has a superb music score from Jerrry Goldsmith. I'll give it a high score(by my standards) of 8 out of 10