Reflecting on this year as a whole, it feels like a time warp. In October, we reached the date that Marty and Dr. Brown did in BACK TO THE FUTURE PART II and in London, it felt like we were back in 1982, with MAD MAX and POLTERGEIST reboots and retro screenings of THE THING and BLADE RUNNER – THE FINAL CUT, two films which didn’t make the grade in 1982, but which have become sell-out classics in re-issue phase, thus proving that timing is everything.
One movie in 1982 which wasn’t affected by the blockbuster success of E.T – THE EXTRA TERRESTRIAL was AN OFFICER AND A GENTLEMAN and was a gamble that paid off for Paramount, who originally scheduled it for an autumn release that year, but instead aimed for late Summer, where it picked up the slack that E.T was beginning to create as its phenomenal run came to an end.
The film has been reissued as part of the BFI’s LOVE season in a sparkling new Digital Presentation and one suspects, given the plethora of outdoor free screenings across the UK alongside this year’s SECRET CINEMA offering, THE EMPIRE STRIKES BACK (1980), it will form part of the schedule for the summer events in 2016 – and so it should be.
Having only ever experienced it myself originally on VHS, DVD and on cut TV versions down the years since its original home video release in 1984, where it became the second UK sell-through title after RAIDERS OF THE LOST ARK at 20 GBP at that time (both titles were smashes in retail and paved the way for how movies sold in future), it was a joy to finally experience it in the format and medium it was originally intended.
In terms of Digital presentation, the sound and picture (1.85:1 ratio) are a wow and the audience who viewed it at the BFI South Bank (a mature audience for the most part) gave it a warm round of applause at the end, proving it has not lost that ability to lift you up where the Oscar-winning song from the film wants you to be. It is also nice to experience the Joe Cocker / Jennifer Warnes rendition in the context of the film, rather than on Heart or Absolute 80s.
So how does AN OFFICER AND A GENTLEMAN hold up after 33 years? Well, surprisingly well and timely, given the challenges all military personnel are going through at present considering the recent Paris attacks. That’s not to say that this should be seen as a political statement, merely an opportunity to experience the real emotions and development of these wonderful characters, portrayed by a stellar cast, notably Louis Gossett Jr in his immortal Oscar-winning role as Gunnery Sgt. Foley.
Although TOP GUN (1986) became the recruiting poster for the Navy on it’s blockbuster release four years after OFFICER, it is inferior in tone and quality to this, which focuses on the period of basic training before the likes of Maverick and Goose head off to Top Gun. That, for me, makes a more interesting dynamic.
Richard Gere, taking the role of Zack Mayo – incidentally, this was a role that John Travolta turned down – alongside AMERICAN GIGOLO (1980), with both opportunities allowing Gere to step forward into leading man status – flourishes in the lead and defines romantic leads as good as anything, as witness his turn in PRETTY WOMAN eight years later.
This was Gere’s initial golden period of success with the likes of  LOOKING FOR MR. GOODBAR (1977), YANKS (1979) and the aforementioned GIGOLO. He is aided with good support from fellow candidates David Keith as Sid Worley, Harold Sylvester as Perryman, Tony Plana as Della Serra and David Caruso, years off NYPD Blue, as Daniels. In today’s casting, particularly in the George Clooney ensembles, there is more star balance, rather than Actor/Supporting Actor dynamic. The latter balance of casting does tend to help a film sometimes as you are focusing on the performances rather than the egos on show.
Recently, comments have been made about the lack of good female roles, but AN OFFICER AND A GENTLEMAN is a model example and excellent reminder of what is possible, as there are no fewer than three great performances on show here – Debra Winger (sadly not seen much these days except in the Anne Hathaway vehicle RACHEL GETTING MARRIED and other rare performances) as Paula, the late Lisa Blount as Lynette, the girl looking to get lucky; and Lisa Eilbacher (who went on to appear opposite Eddie Murphy in BEVERLY HILLS COP as Jenny Summers) as Candidate Seeger. It is this very dynamic that elevates the film above being more than either a macho comment or a chick flick, categories that a lot of films about military personnel tend to split into.
The script by Douglas Day Stewart, based on his own experiences as an Officer Candidate, is sharp and pulls no punches and has wonderful dialogue and contrast as we follow Gere and co. through their paces. Jack Nitzsche‘s music, variations on the song theme, is cued at the right stage and it is still refreshing to see an erotic love scene in context, rather than used exploitatively.
A great movie experience and one to catch if it comes to your local for a second time.
Verdict
