Sleeping with the Enemy (released in theaters on Feb. 8, 1991), begins with Laura Burney (Julia Roberts) appearing to lead a charmed life in a stunning beachfront home with her wealthy husband, Martin (Patrick Bergin).
However, the idyllic facade hides a nightmare of domestic abuse and obsessive control. Martin is a meticulous perfectionist who subjects Laura to physical and emotional violence over the slightest perceived flaws, from misaligned hand towels to unauthorized social interactions.
Realizing that Martin will never let her go, Laura stages an elaborate disappearance during a storm at sea.
She fakes her own drowning, manages to swim to shore, and flees to a small town in Iowa to start a new life under the name Sara Waters.
In her new environment, Laura begins to heal and finds a gentle romantic interest in a kind drama teacher named Ben Woodward (Kevin Anderson).
She starts to reclaim her independence, finding joy in the simple things she was once denied. However, the plot takes a chilling turn when Martin discovers clues – including a wedding ring flushed down a toilet – that suggest Laura is still alive.
Using his vast resources and predatory instincts, Martin tracks her across the country with terrifying precision.
Directed by Joseph Ruben and written by Ron Bass, the film shifts from a drama of survival into a high-stakes cat-and-mouse game, culminating in a violent confrontation where Laura must finally stand her ground against the man who refused to let her live.
Julia Roberts in Sleeping with the Enemy (Photo/20th Century Fox)
Reception for Sleeping with the Enemy
Sleeping with the Enemy grossed $13.8 million on its opening weekend, finishing No. 1 at the box office. The film’s opening ended Home Alone‘s twelve week run atop the box office.
The film would gross $175 million worldwide.
Legacy
Sleeping with the Enemy‘s legacy is tied to its role in cementing Roberts as the preeminent female movie star of the 1990s.
Released shortly after her breakout in Pretty Woman, the film proved she could carry a dark, suspenseful thriller to massive commercial success, even dethroning major blockbusters at the time of its release.
It became a cultural touchstone for its depiction of domestic abuse, sparking widespread public conversation about the “invisible” nature of such trauma and the courage required to escape it.
While critics noted its similarities to classic “slasher” tropes, the film is remembered for Bergin’s chillingly restrained performance and the iconic, anxiety-inducing imagery of the perfectly straight hand towels.
It remains a definitive entry in the early-90s cycle of domestic thrillers, influencing a generation of films centered on female resilience and empowerment in the face of obsession.
