MOVIE REVIEW : ‘POSITIONS’: LIGHT TOUCH, DARK HUMOR

Not since W. C. Fields has there been so lecherous a dentist on the screen as “Compromising Positions’ ” Dr. Bruce Fleckstein, the Lothario of Long Island.

Thick gold chain around his neck, initialed pinkie ring on his finger, the oily Fleckstein (Joe Mantegna, on briefly but oh so hilariously) hovers over flinching patient Susan Sarandon. “If you have pain of any kind, I’ll make time for you,” says he with heavy suggestiveness. But time is about to run out for this particular kind of Dr. Feelgood: He’s found stabbed to death with one of his own dental tools, and a sizable share of his suburban community’s housewives suddenly find themselves suspects.

“Compromising Positions” (citywide) is a delicious adaptation by Susan Isaacs of her novel, directed with a light, knowing touch by Frank Perry. It’s a blithe, sparkling, sophisticated comedy-mystery laced with dark humor that couldn’t be more welcome in the current summer avalanche of teen movies. How gratifying to hear once again dialogue that crackles with wit and humor (and doesn’t even require subtitles!).

Sarandon comes down with a bad rash of seven-year itch. That’s how long it’s been since she gave up her career as a Newsday reporter to be a housewife and mother. But she just can’t resist poking around in the murder case, much to the consternation of homicide detective Raul Julia and her own husband, hard-working corporate attorney Edward Herrmann. In time she endangers not only her marriage but her life.

What makes “Compromising Positions” such a pleasure, beyond its wickedly satirical wit, is its notably fair-minded feminism. Herrmann’s husband is written--and played--so that we can understand that his increasing anger over his wife’s preoccupation with the murder makes perfect sense to him. Here he is, slaving away for her and the kids, and he can no longer count on a warm meal and some TLC when he comes home.

What he doesn’t realize is how self-centered he is, for all his innate decency. Still, he’s an intelligent and loving man, just as Sarandon is a loving and intelligent woman.

“Compromising Positions” happily never loses sight of the kind of stable people Sarandon and Herrmann actually are; as a result, we derive as much satisfaction from what doesn’t happen as from what does. The film generates suspense from letting us wonder not only who committed the murder (and precisely why) but also whether Sarandon and Herrmann really are going to behave as adult individuals capable of thinking for themselves--and of each other.

So much for the serious underside. Between Herrmann’s consciousness-raising and Sarandon’s self-liberation, the film is chock-full of humor dashed with pathos. What fun Judith Ivey, that exceptional actress of both stage and screen, has as Sarandon’s sharp-tongued, adulterous best friend, urging her into an affair with Julia, whose attraction to Sarandon grows with his respect for her investigative skills.

Then there’s Sarandon’s neighbor, Mary Beth Hurt, calm amid the growing storm; Anne De Salvo’s seemingly grief-stricken widow, Josh Mostel as De Salvo’s silly, bumbling brother and Deborah Rush as his wife, pathetic yet funny as she crumbles beneath her lacquered surface when she learns that she wasn’t the only Other Woman in her late brother-in-law’s life. Finally, there’s Joan Allen as the most foolish of the dentist’s conquests.

None of these people seem caricatures because “Compromising Positions” resists the common mistake of satire: seeing only its central characters in the round. And how fine are Sarandon and Herrmann as an entirely believable couple surprised to discover their need to rediscover themselves and each other. Sarandon’s fitful, gradual but increasingly determined renewal of self-confidence is beautifully realized.

There’s a moment here and there that lacks verve, but Isaacs’ script is bright and sturdy enough to sustain such pauses. “Compromising Positions” (rated R for adult situations) is a lively film of both substance and laughter that delights in the revealing detail and encounter. No scene in the film is richer or subtler than Sarandon’s casual but firm rebuff from her former editor (Tanya Berezin), who dismisses her patronizingly with “How long’s it been? Seven years?”

‘COMPROMISING POSITIONS’ A Paramount release. Executive producer Salah M. Hassanein. Producer-director Frank Perry. Screenplay Susan Isaacs, from her novel. Camera Barry Sonnenfeld. Music Brad Fiedel. Production designer Peter Larkin. Costumes Joe Aulisi. Associate producer Patrick McCormick. Assistant producer Tom Folino. Film editor Peter Frank. With Susan Sarandon, Raul Julia, Edward Herrmann, Judith Ivey, Mary Beth Hurt, Anne De Salvo, Joe Mantegna, Josh Mostel, Deborah Rush, Joan Allen, Kaiulani Lee, Tanya Berezin, William Youmans, Amanda Lyons, Chris Cunningham, Jason Beghe, Timothy Jerome, Jack Gilpin.

Running time: 1 hour, 38 minutes.

MPAA-rated: R (persons under 17 must be accompanied by parent or adult guardian).