It began life as a notoriously abrasive David Mamet play, Sexual Perversity in Chicago, a title practically guaranteed to raise eyebrows at the local video store counter back in the day. Yet, somehow, Edward Zwick's 1986 feature directorial debut, retitled to the far more evocative About Last Night..., managed to take that sharp, cynical source material and shape it into something unexpectedly resonant, something that felt… well, real amidst the often heightened romanticism of 80s cinema. Seeing that familiar Columbia Pictures logo flicker onto the CRT screen again, followed by those opening Chicago shots, still pulls me back to a time when exploring the messy realities of relationships felt like bracing new territory for a mainstream film.
Beyond the Meet-Cute
The setup is classic boy-meets-girl: Danny Martin (Rob Lowe, then at the peak of his Brat Pack fame) and Debbie Sullivan (Demi Moore, equally iconic for the era) connect during a softball game after-party at a classic Chicago bar (the actual Mother's on Division Street, a nice touch of authenticity). The initial spark is undeniable, electric even. Lowe and Moore, who reportedly had their own off-screen history, crackle with a chemistry that feels immediate and believable. But About Last Night... quickly moves beyond the easy sweetness of falling in love. It’s interested in the after, the complexities that arise when initial passion gives way to the practicalities, anxieties, and potential pitfalls of building a life together. It asks, what happens when the intoxicating "last night" becomes the everyday "this morning"?
Mirrors and Warnings
Adding layers of both humour and cautionary perspective are the couple’s respective best friends. Bernie Litko, played with boisterous, almost weaponized cynicism by James Belushi, embodies the unreconstructed male perspective, clinging to bachelorhood and viewing commitment with deep suspicion. His blunt, often crude pronouncements provide much of the film's Mamet-derived bite. On the other side is Joan, Debbie’s sharp-witted roommate, brought to life in a star-making debut performance by Elizabeth Perkins. Perkins is phenomenal, matching Belushi’s cynicism with a weary pragmatism and fiercely protective loyalty towards Debbie. Their antagonistic banter provides a darkly comedic counterpoint to Danny and Debbie’s struggles, acting almost as a Greek chorus commenting on the central relationship's potential doom. It's fascinating how their dynamic often feels more directly lifted from Mamet’s cynical worldview, serving as a stark contrast to the central couple’s attempt at genuine connection.
Finding Honesty in the 80s Gloss
What truly elevates About Last Night... is its willingness to portray the unvarnished aspects of a young relationship. There's the impulsive decision to move in together, the subsequent friction over habits and space, the creeping jealousy, the painful arguments born from miscommunication and insecurity. Zwick, alongside writers Tim Kazurinsky (yes, the SNL alum!) and Denise DeClue, navigates this territory with a sensitivity that feels surprisingly mature for its time. While the film inevitably softens Mamet's harsher edges to appeal to a wider audience – a necessary step, perhaps, to secure its estimated $8.5 million budget and achieve its impressive $38.7 million box office haul (around $108 million today!) – it retains a core of emotional honesty.
The performances are key. Lowe, often cast for his looks, brings a vulnerability to Danny, capturing the confusion of a young man grappling with feelings deeper than he anticipated. Moore is equally compelling as Debbie, portraying her desire for connection alongside her frustration and eventual heartbreak. Their fights feel raw, their moments of tenderness earned. Even Belushi, playing arguably the broadest character, finds moments that hint at the loneliness beneath Bernie's bravado. And Perkins? She simply steals every scene she's in, a fully formed talent from her very first moments on screen.
Retro Fun Facts: From Stage to Screen
- The journey from Mamet's Sexual Perversity in Chicago involved significant adaptation. The play is far more fragmented and profane, focusing heavily on the emptiness behind casual sex. The film needed a more traditional narrative arc and relatable characters.
- Edward Zwick was primarily known for his TV work, including co-creating the influential drama thirtysomething (which premiered a year later), making About Last Night... a significant leap. His handling of nuanced adult relationships here certainly foreshadowed his later work.
- While St. Elmo's Fire (1985) cemented the Lowe/Moore pairing in the pop culture consciousness, About Last Night... offered them roles with more depth and less melodrama, allowing them to showcase a different kind of chemistry.
- The film faced some hurdles with the MPAA due to its frank language and depiction of sexuality, securing an R rating that felt appropriate for its themes.
Lingering Questions
Watching it now, nestled comfortably on the sofa decades removed from that first rental, the film still resonates. Sure, the fashion screams mid-80s (shoulder pads galore!), and the technology is quaintly retro. But the core emotional struggles – the fear of vulnerability, the difficulty of sustained intimacy, the pain of realizing love isn't always enough – remain timeless. Doesn't the push and pull between passionate connection and individual freedom feel perpetually relevant? It avoids easy answers, presenting the breakup not as a definitive failure, but as a painful, perhaps necessary, part of growing up. The ambiguity of the ending, a cautious step back towards connection, feels more truthful than a perfectly wrapped Hollywood conclusion.
My own well-worn VHS copy saw countless plays back in the day, partly for the star power, but mostly because it felt like one of the few films truly attempting to capture what navigating love and commitment felt like in your twenties. It wasn't always comfortable, but it felt true.
Rating: 8/10
About Last Night... stands as a remarkably frank and perceptive romantic drama from an era often associated with lighter fare. Bolstered by strong performances, particularly from the perfectly matched leads and a knockout debut by Elizabeth Perkins, and Edward Zwick's sensitive direction, it navigates the complexities of young adult relationships with uncommon honesty. While softening its stage origins, it retains enough edge to feel authentic, offering a more grounded and ultimately more satisfying exploration of love than many of its contemporaries. It remains a potent reminder that sometimes, the most compelling stories lie not in the fantasy, but in the messy, relatable truth of what happens after the credits usually roll. What lingers most isn't just the 80s nostalgia, but the echo of genuine emotional complexity.