Cher didn't want to play Alexandra Medford. Honestly, the Hollywood lore behind the 1987 cult classic is almost as chaotic as the literal hellscape that breaks loose in the film's final act. People forget that before the big hair and the iconic tennis match, there was a massive casting shuffle that nearly changed the movie's entire DNA. Originally, Cher was eyeing the role of Jane—the shy, cello-playing redhead eventually played by Susan Sarandon. But George Miller, the director who had just come off the high-octane madness of Mad Max, saw something different in Cher. He saw a leader. He saw the "head witch."
It worked.
When we talk about Cher in The Witches of Eastwick, we aren't just talking about a movie star appearing in a supernatural comedy. We are talking about the exact moment Cher solidified herself as a formidable dramatic actress, sandwiched right between her gritty turn in Mask and her Oscar-winning performance in Moonstruck.
The Casting Chaos That Defined the Film
It's 1986. Production is gearing up in Cohasset, Massachusetts. You’ve got Jack Nicholson at the height of his "Jack-ness," playing Daryl Van Horne with a vulgar, lip-smacking glee. But the chemistry of the three women was the only thing that was going to make the movie fly.
Cher was the biggest star of the trio at the time. Yet, she found herself in a weird tug-of-war. Rumor has it—and this has been backed up in various retrospectives and interviews over the years—that there was a bit of a friction regarding who played which "type." Sarandon wanted Alexandra. Cher wanted Jane. Miller swapped them. It was a genius move. By casting Cher as the grounded, soulful sculptor Alexandra Medford, he gave the movie an emotional anchor. Without her gravity, the film would have spun off into pure camp.
Alexandra is a widow. She’s a mother. She’s a woman who has been suppressed by the small-mindedness of a New England town that views her independence as a threat. When Cher speaks about her "internal weather" in those early scenes, you aren't watching a pop star; you're watching a woman who understands loneliness.
Why the "Witch" Archetype Fit Cher Like a Glove
Let’s be real. Cher has always had a bit of a mystical aura. It’s the hair, the cheekbones, the deep contralto voice that sounds like it’s vibrating from the center of the earth. In The Witches of Eastwick, she leans into the "Earth Mother" vibe without making it a caricature.
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The movie is loosely based on John Updike’s 1984 novel. If you’ve read the book, you know it’s much darker, a bit more cynical, and arguably more misogynistic than the film. The movie transforms the story into a feminist awakening. Alexandra, Jane, and Sukie (Michelle Pfeiffer) aren't looking for a master; they’re looking for a spark. They inadvertently conjure Daryl Van Horne because they are bored and powerful.
Cher’s Alexandra is the first to encounter Daryl. That scene where he lures her to his mansion—the infamous "Is it a crime to want a little nice?" monologue—is a masterclass in reactive acting. She isn't intimidated by Nicholson. She matches his energy. It’s hard to out-charisma Jack Nicholson in his prime, but she does it by being still.
The Iconic Style of Alexandra Medford
We have to talk about the hair. That massive, curly, 80s mane. In the world of Cher in The Witches of Eastwick, style is substance. As the women grow more powerful, their physical appearance shifts. They become more vibrant, more "too much" for the gray, drab town of Eastwick.
Costume designer Aggie Guerard Rodgers did something subtle here. Alexandra starts in muted tones, loose linens, and practical artist clothes. By the time they are playing tennis with a floating ball, she’s draped in silks. It’s a visual representation of self-actualization.
But it wasn't all glamour on set. The production was notoriously difficult. George Miller and producer movie-mogul Jon Peters supposedly clashed constantly. Miller actually quit or was nearly fired several times. The legend goes that Jack Nicholson stepped in and told the studio that if Miller went, he went too. Cher, ever the professional, stayed out of the fray, but you can feel that underlying tension in the performances. It adds a layer of genuine grit to the sisterhood on screen.
Breaking Down the "Cherry" Scene and Practical Effects
The 80s were the golden age of practical effects. No CGI soul-sucking here. When the women decide to take Daryl down using a voodoo doll, the movie shifts into a body-horror comedy that still holds up.
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Think about the cherry pit scene.
It’s disgusting.
It’s hilarious.
It’s iconic.
Seeing Cher, Sarandon, and Pfeiffer huddled around a wax figurine while Jack Nicholson literally falls apart in a church is one of the most satisfying "revenge" sequences in cinema history. It works because the bond between the three women feels earned. They aren't rivals for Daryl’s affection; they are a collective that realized they don't need him.
The Legacy of Cher’s 1987 "Triple Threat"
1987 was, quite frankly, the Year of Cher. She released a platinum album. She filmed Moonstruck. And she gave us The Witches of Eastwick.
Critics at the time were somewhat divided on the film’s tonal shifts—was it a horror? A satire? A slapstick comedy?—but they were almost unanimous about the performances. Cher proved she could lead an ensemble. She wasn't just "the singer who acts." She was a presence.
If you look at modern supernatural media like Practical Magic or Charmed, the DNA of Eastwick is all over them. The idea that female friendship is a literal force of nature started here. Alexandra Medford is the blueprint for the modern cinematic witch: she’s not a hag in a forest, she’s your neighbor who finally stopped caring what you think of her.
What Most People Get Wrong About the Ending
There’s a common critique that the movie ends too chaotically. A giant Jack Nicholson crawling across a floor? A bit much, maybe. But the real ending isn't the spectacle. It’s the final shot of the three women in the mansion, raising their children together.
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Daryl is gone (mostly). The men of the town are irrelevant. The "witches" have created their own society.
Cher’s performance in those final moments is quietly triumphant. She doesn't need to scream. She just looks at the camera with that knowing smirk. It’s the look of a woman who knows exactly how much power she has.
How to Channel Your Inner Alexandra Medford Today
If you’re looking to revisit the film or find inspiration in Cher’s character, focus on the themes of creative autonomy. Alexandra was a sculptor. She made things. She didn't wait for permission to exist.
- Revisit the Source: Read the John Updike novel to see just how much Cher and her co-stars "humanized" characters that were originally written as much more petty and cruel.
- Watch the "Big Three" of 1987: To see Cher's range, watch The Witches of Eastwick, then Suspect, then Moonstruck. It’s a wild ride.
- Embrace the Aesthetic: The "Eastwick" look is back. Think oversized blazers, wild textures, and unapologetic volume.
The film remains a staple of 80s cinema because it refuses to be small. It’s loud, it’s messy, and it’s unapologetically weird. Much like Cher herself, it doesn't fit into a neat little box, and that’s exactly why we are still talking about it nearly forty years later.
Next time you watch it, pay attention to the scene where Alexandra first stands up to Daryl in the bedroom. She’s terrified, but she’s talking. That’s the core of the character—and the reason it remains the definitive "Cher" role for fans who prefer a little bit of bite with their beauty.
Actionable Insights:
- Analyze the "Power Shift": When watching the film, note the specific scene where the women stop reacting to Daryl and start acting against him; it’s a masterclass in narrative pacing.
- Explore the Soundtrack: John Williams’ score for the film is often overlooked but provides the "magical" atmosphere that makes the absurdist elements believable.
- Study Ensemble Dynamics: Notice how Cher often cedes the spotlight to Pfeiffer or Sarandon in certain scenes, proving that her star power was rooted in being a team player, which actually enhanced her individual screen presence.