Podcast Summary: "Someone to Watch Over Me" with Bill Simmons and Chris Ryan

Podcast Information:

• Title: The Rewatchables
• Host/Author: The Ringer (Bill Simmons)
• Episode: ‘Someone to Watch Over Me’ With Bill Simmons and Chris Ryan
• Release Date: April 29, 2025

Introduction

In this episode of The Rewatchables, Bill Simmons and Chris Ryan delve deep into the 1987 erotic thriller "Someone to Watch Over Me", directed by Ridley Scott. The hosts explore the film's intricate plot, character dynamics, and directorial choices, offering listeners a comprehensive analysis of why this movie remains a compelling rewatchable despite its flaws.

Overview of "Someone to Watch Over Me"

"Someone to Watch Over Me" centers around Mike Keegan (Tom Berenger), a dedicated New York City police officer whose life takes a tumultuous turn when he becomes entangled with Claire Wilkes (Mimi Rogers), a wealthy socialite. The film intertwines themes of fidelity, temptation, and moral dilemmas, set against the backdrop of Ridley Scott's signature visual style.

Discussion of Casting Choices

Bill Simmons highlights the casting of Tom Berenger, commenting, "You just got to meet the Machine. You want to talk about that a little bit?" ([03:00]). Berenger's portrayal of Mike Keegan is praised for its authentic depiction of a man caught between duty and desire.

Chris Ryan brings attention to Lorraine Bracco's role, stating, "Lorraine Bracco first movie. She's phenomenal." ([05:38]). Bracco's performance as Ellie, Mike's wife, adds depth to the narrative, showcasing her ability to convey complex emotions.

The hosts also explore potential casting what-ifs, pondering whether actresses like Sharon Stone or Susan Sarandon could have elevated the film further. Bill muses, "Sharon Stone screen tested for Claire and then it went to Mimi." ([59:18]), reflecting on the impact different actresses might have had on the character dynamics.

Ridley Scott's Directorial Influence

Zach Lowe notes Ridley Scott's meticulous attention to visual elements, saying, "Ridley Scott is the most visual director I've ever worked with. He actually paints with light and with lenses, with angles." ([10:23]). This distinctive approach is evident in the film's atmospheric New York settings, from the cramped duplex in Queens to the sprawling Guggenheim Museum.

However, the hosts debate whether Scott's focus on visuals sometimes overshadowed narrative coherence. Bill criticizes the sound design in action scenes: "Then she punches him. Terrible sound effect for the punch." ([41:21]), suggesting that technical choices occasionally detracted from the storytelling.

Key Scenes and Their Impact

The opening party scene is highlighted as a quintessential moment that sets the tone for the film. Bill Simmons describes it vividly: "I'm just gonna get a drink and talk to the lady who asks if I get hard when I shoot people." ([63:27]). This scene encapsulates the film's blend of tension and understated humor.

Another pivotal moment discussed is the Guggenheim chase, where Mike pursues Joey Venza through the museum's iconic spiral hallway. Zach Lowe appreciates the location choice: "It's also awesome chase location because of the spiral hallway right in the Guggenheim." ([36:53]).

Critical Reception and Flaws

Despite its strengths, the film received mixed reviews. Bill Simmons references Roger Ebert's two-star review, highlighting criticisms about the film's high-concept execution: "There's nothing fundamentally wrong with the script in which the hero sleeps with the wrong woman... the makers of this film got so carried away with their high concept that they missed the point of the whole story." ([30:01]).

The hosts agree that the ending is a significant flaw. Chris Ryan remarks, "The last 10 minutes just... what the movie is these guys." ([30:11]), pointing out narrative inconsistencies and unresolved plot threads that undermine the film's overall impact.

Themes and Character Development

A central theme explored is the midlife crisis juxtaposed with police duty. Zach Lowe observes, "It's a midlife crisis movie and a cop movie around it." ([07:22]). Mike Keegan's struggle between his commitment to his family and his infatuation with Claire drives the emotional core of the film.

Ellie Keegan's reaction to Mike's infidelity introduces a mature portrayal of marital conflict. Bill Simmons notes, "Somebody's doing something terrible, but you can kind of see it and you're not holding against them." ([06:46]), appreciating the nuanced depiction of forgiveness and resilience.

Comparisons to Other Films

The discussion draws parallels between "Someone to Watch Over Me" and other 80s erotic thrillers like "Fatal Attraction" and "Body Heat". Zach Lowe states, "It pulls off the hardest thing you can pull off... It's a choice between women." ([06:46]), aligning it with contemporaries that explore similar themes of desire and consequence.

Additionally, the hosts compare Ridley Scott's work here to his more acclaimed films like "Blade Runner" and "Alien", noting a departure into more commercially-driven storytelling without sacrificing visual grandeur.

Conclusion

"Someone to Watch Over Me" presents a complex intertwining of personal turmoil and professional duty, underscored by Ridley Scott's visual prowess. While the film excels in character portrayal and atmospheric settings, its narrative inconsistencies and a lackluster ending prevent it from achieving classic status. Bill Simmons concludes, "It's a couple squares short of 80s movie bingo, but it hits a lot of them." ([83:46]), recognizing its place as a rewatchable piece that offers ample material for analysis despite its shortcomings.

Listeners who appreciate deep dives into film mechanics, character studies, and directorial influences will find this episode both insightful and entertaining, offering reasons to revisit this underrated 80s thriller.

Notable Quotes:

• "Ridley Scott is the most visual director I've ever worked with." — Bill Simmons ([10:23])
• "It's a midlife crisis movie and a cop movie around it." — Zach Lowe ([07:22])
• "There's nothing fundamentally wrong with the script in which the hero sleeps with the wrong woman." — Bill Simmons referencing Roger Ebert ([30:01])
• "Somebody's doing something terrible, but you can kind of see it and you're not holding against them." — Bill Simmons ([06:46])