An abnormal blend of B-movie melodrama and crime thriller—only Sam Fuller could deliver
A strong opening- hand-held camera of Constance Towers (back with Fuller from their work together the year before in Shock Corridor) in a shaky POV close-up wearing a wig and beating a man with her purse to a loud jazz score- haha
Fuller is about peeling back the truth- here there’s small-town hypocrisy (this would fit right in with David Lynch’s world- the seedy underbelly of this suburban morally righteous town (and cop). Intentionally hokey (like Lynch)- taking care of children in the hospital
wildly unsubtle
Choppy editing in spots
A not to his Big Red One background – the mannequin scene
A step back after Shock Corridor – not in the top 10 of 1964 or terribly close but always entertaining and certainly auteur cinema
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