In “Woman of the Hour,” an infamous piece of ’70s serial killer lore becomes a suspenseful and disheartening thriller in the hands of director and star Anna Kendrick.
It’s a pre “#BelieveWomen” tale when women were speaking-out and alerting police to the rapists, molesters and murderers among us. And men in general and the cops in particular either didn’t listen, didn’t take it seriously or were simply so slow at taking action or putting together the pieces that something awful was happening. To women.
Kendrick, working from a script by Ian McDonald (“Superman Returns”), captures late ’70s America in all its sexism and barely-under-the-radar violence. Playing an aspiring actress named Cheryl who appears on the leering, innuendo-laced “Dating Game,” Kendrick gets good advice, if not solace, from the sage and cynical makeup artist (Denalda Williams, terrific) giving her a touch-up during each commercial break.
The only real question and subtext to “today’s bachelorette” TV interrogation of three SoCal bachelors, makeup artist Marilyn advises, is this.
“Which one of you will hurt me?”
Cheryl’s on a show, trying to choose between a dolt, a womanizer and a handsome charmer (Daniel Zovatto). But in the film’s opening scenes, and in flashbacks throughout, we’ve seen “Rodney” lure young women (mostly) into posing for him so that he can photograph them, often in striking remote locations (Joshua Tree, etc.). Then he strangles them, sexually assaults them, and even revives them for more torturous abuse.
The crimes are sinister and savage and hard to watch. But in this feminist manifesto of a film, “The Dating Game” and sexist culture in general are just as cringe-worthy.
Cheryl’s struggling to get a break as an actress, enduring rude auditions where lumpy men pass judgment on her looks, make cracks about her “type” and find reasons she’s “not quite right” for this or that part.
Even the aspiring actor neighbor (Pete Holmes) is on-the-spectrum creepy, lightly hitting on her as he’s trying to buck up her confidence. Kendrick, the Queen of Awkward “date” scenes, finds it easier to sleep with him than face his reaction to rejection, in a bar and in all their probably future encounters in the hall of their apartment complex.
“Unpleasant?” Almost certainly. “Violent?” Possibly.
Meanwhile, Rodney is photographing a Texan (Kelly Jakle) in Wyoming or helping a stewardess (Kathryn Gallagher) move into a dumpy New York apartment. He charms and flatters, and when he sees his chance, he terrorizes and strangles.
We’re treated to a hint at murderous motivation, a general contempt for woman and need for “revenge” upon them.
And as Ted-Bundy-handsome Rodney bounces all over the country, even showing off some of his photography to new colleagues at the Los Angeles Times, we see a monster in plain sight whom no one wants to take as a serious threat.
Booking that “Dating Game,” Cheryl finds herself liberated (by brassy Marilyn) to ditch the scripted come-on questions, ignore the host’s order that she “not be too smart,” and take over the show by torching three “IQ of a lug nut” bachelors with references to Einstein and Immanuel Kant.
But in that audience is one female viewer (Nicolette Robinson) who recognizes Bachelor #3. Will she raise the alarm to the right people, and will they take her accusations seriously?
And what happens if Cheryl chooses Bachelor #3? Perish the thought.
Kendrick maintains suspense behind the camera as she lays on the vulnerability on camera. But Cheryl, like a couple of women seen here, has learned to be leery, learned to mistrust “men” and the patriarchy that lets them get away with being boorish, aggressively forward, unprofessional or threatening.
Do yourself a favor and don’t go to the Wikipedia page history of this “true story” until you’ve finished watching Kendrick’s chilling, damning thriller about it.
The performances are generally fine, but casting Tony Hale as the renamed “Dating Game” host was a mistake and a missed chance. Jim Lange was an unflappable veteran DJ who gave that show some personality, and several signatures and catch phrases. Hale’s a fine actor, and often a funny one. But vocally and tempermentally, Hale would have a hard time passing for a public radio host, much less the seemingly square but droll and outgoing Lange.
Sure, give him a wig and play the guy as another sexist jerk. Rename him if you’re afraid of lawsuits. But put a PERSONALITY who knows how to use his voice in that role.
That’s the only quibble I have with this otherwise dazzling directing debut. We can wonder why this hasn’t led to a stream of directing offers from our acclaimed “smart cookie” behind the camera. But considering the tone and messaging of “Woman of the Hour,” I’m guessing Kendrick is the only one who isn’t surprised that hasn’t happened.
Rating: R, graphic violence, sexual assault, substance abuse, profanity
Cast: Anna Kendrick, Daniel Zovatto, Nicolette Robinson, Autumn Best, Kelly Jakle, Kathryn Gallagher, Denalda Williams and Tony Hale.
Credits: Directed by Anna Kendrick, scripted by Ian McDonald. A Netflix release.
Running time: 1:35
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