The early ‘90s were a peculiar period in the ascendant career of young Nicole Kidman. Hot off her breakthrough in Dead Calm (1989), Hollywood poached her quickly, (mis)casting her in a series of prominent but mostly forgettable, largely thankless roles—from Days of Thunder (1990) and Billy Bathgate (1991) to Far and Away (1992) and My Life (1993). In between, her real claim to fame (for a time) was bagging Hollywood’s biggest star, not necessarily popping on screen. Or at least that’s how I viewed her in the fall of 1993, when the Harold Becker-directed, Aaron Sorkin-penned Malice was released in theaters…
Believe it or not, there was a time when Sorkin was known more as a fresh playwright (A Few Good Men) than a name-brand film and TV scripter. Out of context, a decidedly not high art, quintessentially ‘90s potboiler thriller like Malice might seem like a strange curio in Sorkin’s oeuvre. But malices, let me tell you, were all the rage back then—and we as a moviegoing culture were better for it.
Centering on Kidman and Bill Pullman as a picture-perfect New England couple torn apart (ostensibly) by medical malpractice, Malice offered Kidman her first proper “star” turn stateside *without* her famous real-life husband as ballast. It also gave us a glimpse of Kidman, the Hitchcockian (strawberry) blonde, whose gifts would be exploited to greater effect in the years to come. With Malice though, what we got is what she gave: steely, shrewd, somewhat inscrutable—a beautiful woman with a wicked con. And what a con it is.
If Malice is remembered for anything today, it’s likely the wild “I am God” monologue delivered by a scenery-chewing Alec Baldwin as an arrogant surgeon with dubious motives. Pure Sorkin, the monologue lands during a legal deposition opposite a glowering Kidman whose character has endured a medical procedure gone horribly wrong. Or has it?
It’s an understatement to say that Malice is full of twists and turns and red herrings galore (a serial killer subplot featuring a baby-faced, pre-fame Gwyneth Paltrow?), but you really have to see for yourself how bonkers ‘90s thrillers like this were to appreciate them. And what Kidman is doing here, with her wild mane of curls and kittenish swagger, is a cool delight.
She clearly is eating up Sorkin’s dialogue — who knew that Being the Ricardos (2021) was a writer/director-star reunion! — as well as Sea of Love director Becker’s set pieces. Whether literally shattering a wine glass in her bare hand (and then snapping at a concerned server) or maniacally strangling what turns out to be a decoy of a blind boy, Kidman is game. It’s a trip, made all the wilder by appearances of veteran actors Anne Bancroft and George C. Scott in glorified cameos that must’ve been hella fun to play.
But back to Kidman…from devoted wife to ruthless—even murderous—grifter, she runs the gamut of Hollywood clichés but in nevertheless flinty, intriguing ways. (One could imagine her role playing in Malice as a test run to the Suzanne Stone characterization she would go on to craft perfectly in To Die For, two years later.) Which is probably why I revisit Malice at all: You see Kidman starting to emerge from the cocoon of her Hollywood handling into a more interesting, sharper-edged persona onscreen, exploring the edges of instinctual characterization on more of her own terms.
Yes, Malice is minor note—and minor-note Kidman—given her filmography, but I’m nonetheless glad it exists. For it also represents the last movie in the first chapter of the heretofore known Mrs. Tom Cruise’s Hollywood film career; from there it was onward and rapidly upward, redefined in ‘95 with megawatt performance and box-office blockbusters that make Malice look quaint by comparison. And that’s what I like about it—and her in it—to this day.
Previously in the Nicole Kidman TFE Tribute:
- Introduction + Early Australian Films
- Billy Bathgate (1991) – her first Golden Globe nomination!
Tomorrow, it’s time for one of the actress’ most iconic performances as that fame-hungry weather woman who’ll do anything to get what she wants. To Die For is coming.