By Richard Winters
My Rating: 3 out of 10
4-Word Review: She resembles his wife.
Michael Courtland (Cliff Robertson) is a wealthy land developer living in New Orleans whose wife Elizabeth (Genevieve Bujold) and daughter (Wanda Blackman) become victims of a kidnapping and die during the police shoot-out. Michael becomes tortured with guilt feeling he should’ve done more to save them. 16 years after the crime was committed he meets a woman (also played by Bujold) who looks strikingly like his former wife. He becomes infatuated with her and the two eventually marry only for him to find that she holds a deep, dark secret.
This film marks yet another attempt by director Brian De Palma to emulate his idol Alfred Hitchcock with a film loaded with fancy camera work, but not much else. For the most part, at least visually, it’s tolerable and not quite as overdone as De Palma’s other Hitchcock imitations. To some degree the camera work and soft focus lens is the most entertaining thing about it although having the camera go back and forth from one talking head to another during a scene where Robertson and co-start John Lithgow have a conversation at a restaurant becomes unnecessarily dizzying.
The casting of Robertson is a problem as he’s unable to convey the demands of the part effectively as his constant staring at Bujold becomes creepy and unnatural and he’s obviously way older than any of his costars. They should’ve at least hired an actor his same age as his business partner as Lithgow was 26 years younger than him and it shows. For the most part Lithgow isn’t too good here either as he wears a wig and speaks in an over-the-top bayou accent, which borders on being annoying and it makes him come off as slimy and creepy right from the start.
Bujold on the other hand gives an excellent performance that rises far above the trite material, but she looks too young as a wife to Robertson during the flashback scenes. Turning around and having her also play a 10-year-old girl during some brief sequences comes off as awkward.
The story, which was based on a script by Paul Schrader, but highly truncated by De Palma is full of loopholes. I thought it was unbelievable that the crooks didn’t spot this green police van with a very odd looking antenna on top of it, which was needed to track the honing device that was put into the briefcase with the supposed ransom money that the crooks retrieved, that was following them around at a much too close distance. I thought it was equally unbelievable that the crooks would not have immediately opened the briefcase the minute they retrieved it and made sure there really was money inside it instead of driving all the way back to their hideout before opening it while naively trusting that there was no chance that they might’ve been duped.
There’s also not enough of a visual transition during the 16 year time period that the story takes place in. Except for a few extra white hairs Robertson’s appearance remains virtually the same while the commercial boat that he rides on to deliver the ransom remains exactly the same as does the deserted dock that he throws the briefcase onto even though after such an extended period of time both things most likely would’ve changed or evolved in some way.
Spoiler Alert!
The twist ending where we learn that Michael’s new wife is really just his grown daughter who he had thought had died during the kidnapping does nothing but produce even more loopholes. Supposedly she died with her mother when the car they were in burst into flames and went into the river and supposedly the police tried to recover the vehicle, but found it to be too difficult, so they gave up, but in reality I don’t think this would’ve occurred. After some setbacks they would’ve kept trying until they were able to retrieve it as they knew the approximate spot where the vehicle went in and a river is not an ocean, so it shouldn’t have been that hard anyways.
In order to avoid the controversy of promoting a film with an incest story line the producers decided to reedit the marriage sequence to make it look like it had been a dream, but this ends up just bringing up even more questions. Like how is Bujold able to get into Robertson’s dreams and continue her scheme by telling him he must prove himself all over again by putting a briefcase of $500,000 of his money back onto the same dock he had done 16 years earlier?
The final shot, which is done in slow motion and features Robertson and Bujold reuniting at an airport, is by far one of the corniest things ever put on celluloid and will surely cause most viewers to either roll their eyes or breakout into laughter.
End of Spoiler Alert!
The funniest thing though about this so-so film is probably just Rex Reed’s overly fawning review of it, which gets printed on the promotional poster seen above. In it he calls this movie ‘an immensely important cinematic piece of work’, but how is that as it’s just a tacky Hitchcock rip-off with no message to it at all? He also calls it ‘better than anything Hitchcock has ever done’, which just isn’t true. I know Reed has gotten criticized in recent years for many valid reasons including his fat shaming of Melissa McCarthy, but his career should’ve ended after writing this over-the-top glowing take of a film, which ultimately is nothing more than a third-rate mystery with fancy camera work, as it makes him look like he was a hack paid by the studio to write a puff piece about the movie simply to help promote it.
My Rating: 3 out of 10
Released: August 1, 1976
Runtime: 1 Hour 38 Minutes
Rated PG
Director: Brian De Palma
Studio: Columbia Pictures
Available: DVD, YouTube
Scopophilia 