(Warning: Occasional rough language due to movies being quoted.)

Rosanna Arquette is the only modern actor who is indefinable in conventional crit-illuminati terms and the only artist I know of who consistently broke through the Frozen Silence that descended on the Empire in the eighties (made all the more remarkable by that being the moment her career began).

She might not be the most gifted. There are plenty who think she’s not the most gifted in her own family. But she’s the most disorienting. She might read a bad line straight, just to get it over and done with. Hard not to given the number of bad lines forced on her after Harvey Weinstein ruined her career (you know, “allegedly”).

But she’ll never read a good line straight. I doubt she knows how.

She was partly raised in a commune and I once read/heard that she played in the mud at Woodstock.

Or maybe I dreamed it.

Either way, I choose to believe it.

The only way it would be more perfect is if she was born there.

For the express purpose of destabilizing the future.

The Executioner’s Song (1982)
D. Lawrence Schiller

Originally a mini-series, then edited down to movie length for a Euro-release, later edited back up (though not all the way) for a “director’s cut.” In other words the confusion begins right here, in Arquette’s breakout role as Nicole Baker, the girlfriend and personal addiction of spree murderer Gary Gilmore (they stopped him at two, but he’d have killed everyone in the world to be with her). It’s spare and compelling, one of the best films about the empty moral landscape of post-Viet Nam America. And it establishes one of Arquette’s great themes: She makes men want to shoot other men in the head.

More thoughts here.

(NOTE: This is finally being released in its original form–Blu-Ray, January, 2018. An interview with Arquette is listed in the extras. Those of us who have settled for blotchy, half-audible YouTube downloads all these years can’t wait to hear her say “You and seven other motherfuckers!” the way it was meant to be heard. UPDATE: 1/28/18 I just checked Amazon and the new release is apparently….flawed. Check there before you purchase. In the meantime, the long version is on YouTube.)

Rating as..

Movie: 9/10 (for the original cut, which is the only one I’ve seen).
Rosanna Arquette Movie: 10/10

Baby It’s You (1983)
D. John Sayles

Awe inspiring. Is it a coincidence that the only time John Sayles worked with Rosanna Arquette is the only time he managed to get out of his own way? Or that Arquette is the only post-seventies actor besides Illeana Douglas (also raised in a commune) who “got” the sixties? I mean, how simultaneously liberating and traumatizing it was? Especially for women?

Opinions will vary.

My answers are No, No, No and No.

Not a coincidence that is.

The best film of the 80s and the decade’s best performance.

This one’s readily available….more thoughts here.

Movie: 10/10
Rosanna Arquette Movie: 10/10

“Rosanna” Toto (1982) and
“In Your Eyes” Peter Gabriel (1986)

Arquette had contemporary romantic relationships with somebody in Toto (who cares who….that it wasn’t the guy who wrote the song probably matters to his mother) and Peter Gabriel. In the moment, everyone knew and admitted these songs were about her and couldn’t have been about anyone else. After her star faded, everyone denied it and insisted they could have been about anyone. Of course they did….and, of course they did. No man likes to admit some woman makes him want to shoot other men in the head.

Available on YouTube.

Double Bill:

After Hours (1985)
D. Martin Scorcese


Desperately Seeking Susan (1985)
D. Susan Seidelman

The movies that “killed” Arquette’s career. (For details, go here.) In After Hours, she played a kook in a movie about a straight (Griffin Dunne) who keeps bumping into kooks all through one long, dark New York night of the soul. First in a line of tormentors that includes, among others, Teri Garr and Cheech and Chong, she was the only one who got onto the film’s oddball vibe enough to match its Dante-esque pretensions. If Scorcese had been bold enough to cast her in all the female roles the movie might be more than a curio.

Still, her performance is worth seeing, especially in light of its natural pairing with the same year’s Desperately Seeking Susan, a big hit that won her a BAFTA, the biggest “award” of her career (typically, it came for a “Supporting Actress” when she’s clearly the lead) and had her playing the straight to Madonna’s kook.

Is it a coincidence that the only time Madonna was as free on-screen (whether in movies, videos, television interviews or taped live performances) as her obsessively contrived image, was opposite Rosanna Arquette playing a woman seeking a small taste of the same freedom? Or that the only movie where she radiated movie star charisma was this one?

Opinions vary….

The moment in Desperately when Arquette’s repressed housewife, yearning to breathe free, reacts to a simple magic trick, is one of the loveliest in American film and just the sort of scene her tormentor/producers seemed to have bet the Woodstock girl, forever fighting to keep her clothes on, couldn’t play

After Hours 

Movie: 7/10
Rosanna Arquette Movie: 8/10

Desperately Seeking Susan

Movie: 8/10
Rosanna Arquette Movie: 10/10

These are both readily available.

8 Million Ways to Die (1986)
D. Hal Ashby

Filmed within a fast heartbeat of Desperately Seeking Susan. Anyone who thought the shift from The Executioner’s Song to Baby It’s You was shocking should double-bill Susan and this bleak little enterprise sometime.

I just watched it for the first time in thirty years. I remembered it as a hot mess–such a hot mess that I couldn’t really trust my reaction or my memory.

I mean: Rosanna Arquette? Jeff Bridges? Hal Ashby? How bad could it be?

I’m not prepared, on a second viewing, to say it’s a stone cold masterpiece. But it’s got me wondering. No idea how or why I didn’t respond at all back when. I’m sure I wasn’t aware of the spats between Ashby and the studio that resulted in it being taken out of his hands and made just about everyone involved (including audiences) want to wash their hands of the whole thing.

Forget all that. Time has redeemed it. I’ll be watching often, trying to figure out just how much.

But, if it were every bad thing its detractors claim, it would still be here for two reasons:

1) The newly released 30th anniversary DVD has interviews with several of the key players. A year before the Harvey Weinstein revelations (in which she played a prominent role), you can see and hear the career he and his legion of enablers stole from her in every line of her face and every word she speaks.

2) This hot-mess masterpiece has the ultimate Rosanna Arquette line, which is also the definitive noir line. Jeff Bridges’ slightly addled detective finds her in the house of Andy Garcia’s drug dealer (a scintillating, career-making performance), where she’s been taken by force.

And the moment they’re left alone:

“What’s he want?”
“He wants to fuck me and kill you.”

You pretty much have to be there for that, if you want to get Rosanna Arquette.

Because it sounds like a line any good actress could deliver…until you hear her deliver it.

And, to be fair, when it comes time for the men (three in this case) to shoot each other, they mix it up by going for chest shots.

This is now readily available.

Movie: 9/10
Rosanna Arquette Movie: 10/10

Black Rainbow (1989)
D. Mike Hodges

An effective, moody Gothic from the director of Get Carter. For a Brit, he does a fine job of catching the Southern atmosphere. (Arquette has shown a knack for playing hot-to-trot southern chicks–see also The Wrong Man and Big Bad Love.) There is typically fine work from Jason Robards (as Arquette’s father, manager and exploiter) and Tom Hulce (as a small town reporter, trying to get at the truth of a “vision” Arquette’s supernatural medium was granted of a murder). Years before her sister played one on TV, the elder Arquette gets at the quiet heart of a medium’s classic dilemma: someone who hates herself for playing the suckers…only to find even more anguish and confusion when her gift turns out to be real.

On a quick re-viewing, I’m not sure every bit works. But most of it does and the spell is sustained by Arquette’s ability to project her unique combination of sexual arrogance and emotional vulnerability. No one shoots anybody in the head….but one man is shot through her ghost, which is roaming about seeking revenge on Dad for seeing dollar signs in her faraway eyes. And Hulce is prepared to spend his life searching for her, truth be damned.

This is easily available in full screen. For the proper widescreen edition released in Europe, you’ll need a converter or an all-region player.

Movie: 9/10
Rosanna Arquette Movie: 10/10

The Wrong Man (1993)
D. Jim McBride

For once, the movie’s as mind-bending as she is…and she was never more mind-bending than here. By this point fuck me kill you was like a bass line running through her screen presence from movie to movie. The bass line from “Gimme Shelter” maybe.

And while fuck me kill you may be her definitive line, the consummate Rosanna Arquette scene (and noir‘s) comes here, when she bare-backs John Lithgow as he’s crawling to meet room service, just about a hot minute after she threatened to shoot him in the head.


Available (like quite a few of Arquette’s movies) only for streaming or download on YouTube.

Thoughts here.

Movie: 9/10
Rosanna Arquette Movie: 10/10

Pulp Fiction (1994)
D. Quentin Tarantino

I’ve said it before, I say it again. If Tarantino had switched Uma Thurman’s lead and Arquette’s cameo his whole movie might have come alive, not just the one scene. Instead, he was gutless and too damn stupid to know he was planting evidence against himself.

Else Weinsteined.

Assuming there’s a difference.

Readily available, alas.

Movie: 7/10
Rosanna Arquette Movie: 8/10

Big Bad Love (2001)
D. Arliss Howard

One of those artsy movies that’s so self-consciously unpretentious it defeats itself, despite a fine cast. But it’s a nice coda on Arquette’s Vulnerable Vamp period. The character she plays here has no arrogance. She’s just out for the usual impossible combination of kicks and security. Hence, she delivers real poignance in a movie that too often settles for an approximation.

More thoughts here.

This one is readily available.

Movie: 7/10
Rosanna Arquette Movie: 9/10

Law and Order: Criminal Intent (2005) “Sex Club”
D. Alex Chapple

It was inevitable that Arquette would end up trying to evade Goren and Eames. And that she’d make her attempt in one of the series’ best episodes, one that keeps exploding in your face even on a third or fourth (or probably twentieth) viewing.

Peter Bogdanovich plays a Hugh Hefner style “playboy,” transplanted to New York but with his little black book very much intact (if not in his possession). Arquette plays an upper middle class mom who may, or may not, have been the star of one too many mind-blowing orgies.

The perfect part in other words, and at least some of the raw anger she brought to it might have been aimed at her own exploiters–among whom Hefner (with whom she had a longstanding feud over nude photos he published without her consent) was not least. I have no reason to suspect it was the least bit autobiographical, but it’s hard to believe she didn’t identify on some level.

Movie: 8/10
Rosanna Arquette Movie: 9/10

(Available as Episode 14 from Season 4 of Law and Order: Criminal Intent.)

….As of today, Rosanna Arquette has a hundred and forty-nine acting credits on IMDB. She’s worked constantly, perhaps to compensate for the A-list parts she routinely didn’t get after she rebuffed the industry’s top mover and shaker, perhaps just because she likes working. I wouldn’t be surprised if there are a dozen or more golden moments that have eluded me thus far.

I plan to keep looking.

You never know when she’s going to rise up and make one more man want to shoot somebody in the head.

But even if she never has another golden moment or there’s nothing left undiscovered in her vast catalog of mostly cast-off or workaday roles, she’s left something indelible for the future to reckon with.

How many survivors in her generation–molested or unmolested–can say half as much?

Go ahead. Start counting.

You won’t need your second hand.