3 WOMEN 1977

Films that invite repeat viewings are my favorite. If the complexities of plot and character are authentic (and not simply incomprehensibility posing as profundity), each viewing unearths new pleasures and a deeper understanding of the film's themes.

Robert Altman's 3 Women is such a film, and it is, quite literally, a dream.

Shelley Duvall as Millie Lammoreaux

Sissy Spacek as Pinky Rose

Janice Rule as Willie Hart

Altman claimed that much of the basic structure of this genuinely mesmerizing discourse on identity theft came to him in a dream. There is little reason to doubt this assertion, given that 3 Women unfolds in the same shifting rhythms and fluid, non-linear logic of a dream half-remembered.
Altman regular Shelley Duvall plays Millie Lammoreaux, the Palm Springs femme non-fatale of the Purple Sage Apartments: a garishly mauve modernist complex that looks to have sprouted out of the ground like a cactus flower in the flat, arid landscape of the desert. Millie is an attendant at a spa for the elderly and fancies herself an irresistible man-trap.

Oblivious to the fact that to almost everyone, she is either invisible or insufferable, Millie blithely floats around on a lemon-colored cloud of delusion fueled by romantic longing and women's magazine clichés.
The lone dissenting voice is that of Pinky Rose (Sissy Spacek), the childlike, slightly spooky new spa employee who sees in Millie "The most perfect person I've ever met."

If Millie's personality is overdetermined, Pinky's is as unformed as an infant's (she has so little in the way of history or possessions that she could be a visitor from another planet). But since she is the only person to ever reflect back to Millie her own image of herself, the two enter into a mutually beneficial roommate/friendship relationship that has the "worldly" Millie giving the unrefined Pinky lessons in life. Lessons she learns all too well, as it turns out.

Lemon Satin and Tickled Pink
Millie's apartment is an overwhelming medley of sunshiny yellow and white.
It gives the impression of living inside an egg

The 3rd woman of the title is Willie (Janice Rule), the enormously pregnant, mostly silent artist who spends all of her time painting cryptic, luridly violent murals of anthropomorphic reptile people.

Willie is married to the hyper-macho Edgar (Robert Fortier), a swaggering, womanizing, former TV stunt double ("He knows Hugh O'Brian!") with whom she shares ownership of The Purple Sage Apartments and the town's lone hot-spot, Dodge City: a run-down, western-themed bar/ghost town where off-duty cops come to drink beer, shoot guns and ride dirt bikes.

Robert Fortier as Edgar Hart

With the introduction of the almost spectral character of Willie, 3 Women begins to take shape as something grounded increasingly less in reality, yet something more chilling and unsettling than fantasy. As the ad copy on the poster read: "1 woman became 2, 2 women became 3, 3 women became 1."

WHAT I LOVE ABOUT THIS FILM
This one is a true original. There is something so fascinating in Altman's use of magic realism in exploring the twin phenomenon of personality and identity as things both contagious and fluid. He creates unique characters and a world that is real but jarringly off-kilter (not in that self-conscious, Cohen Brothers way, mercifully). And in the finely observed details, 3 Women is often heartbreakingly funny while being downright eerie.

Craig Richard Nelson (A Wedding) and Sierra Pecheur portray Dr. Maas and Ms. Bunweill, the unrelentingly practical-minded operators of the health spa. Displaying inverse traditional male and female characteristics, the pair appear to have undergone a personality transference of their own.

What gets me about 3 Women is that no matter how unusual the characters and how off-rhythm their interactions are, everything feels as if it comes from an emotional and human truth. The characters may be amplifications...their traits and behavior given a surreal, dreamy oddness...but weirdly, it's that very quality that makes them come across more genuinely. It's as though you're watching people who have had their most hidden, inner selves moved to the surface.
For example, no one has probably ever met a person as rabidly devoted to the "Cosmo Philosophy" of femininity or those loopy "Kraft Kitchen" home economist credos as Millie in real-life (at least I hope not). But her embodiment and complete faith in the "How to Catch a Man" propaganda women have been fed for generations makes her character less an object of ridicule than someone we recognize and perhaps even empathize with.

The "fixin's" for one of Millie's characteristically indigestible socio-gastronomical nightmares

PERFORMANCES
Shelley Duvall gives one of the best performances of the 70s and certainly what I consider the best of her career. She can take a character comprised almost exclusively of derisible (if not absurd) characteristics and finds the humanity within. Though audiences are encouraged to laugh at Millie's ever-thwarted attempts at maintaining an air of sophisticated insouciance at all times (try as she might, she can't seem to prevent her flowing skirts from getting caught in her car door), one can't help but feel empathy for her poignant quest to mean something to herself.

Sissy Spacek, an actress able to project earthiness or other-worldliness at will, is remarkable in a role that requires her to be an enigma, but not a blank slate. Her ability to convey a childlike innocence without coming across as mentally challenged is attributable to Spacek's questioning; she seems to be taking information in like a computer. I love her transformation(s). She has inhabited three distinct women by the film's conclusion.

There's something a little terrifying in the kind of woman Pinky "becomes" after her accident

Janice Rule really surprised me in 3 Women because, prior to this film, I had only ever seen her in the truly atrocious Dean Martin Matt Helm film, The Ambushers -1967  (it's a Matt Helm film, did I really need to add the "atrocious" part?). If you ever want to see the definition of "reluctant sexpot," check out that film. Rule, decked out in a comic assortment of skimpy, mod outfits, is the glummest, saddest-looking sexist eye candy you've ever seen. In each scene, her every glance seems to transmit her wish to be anywhere else but there. 
Given that as a first impression, I was pleased to see her in what appears a more comfortable environment as the most puzzling member of Altman's trio. The same solemn sadness so distracting in The Ambushers is present here, but to infinitely more pleasing effect.

THE STUFF OF FANTASY
The recurring motifs of water, mirrors, and other reflective surfaces give 3 Women a hallucinatory quality well-served by its haunting score and the flat, dried-out Palm Springs locations. The expansive emptiness of the land takes on the look of  Dali-esque dream landscapes.

3 Women

 

Clip from "3 Women"  1977

THE STUFF OF DREAMS

Pinky- "I wonder what it's like to be twins...do you think they know which one they are?"

"Perhaps we are the same person. Perhaps we have no limits. Perhaps we flow into each other, stream through each other, boundlessly and magnificently."  Ingmar Bergman  Fanny and Alexander 1979

For years Woody Allen has been knocking himself out superficially channeling Ingmar Bergman, and here Robert Altman hits a bullseye his first time out with this incontestably American nod to Bergman's Persona.

What I've always related to in 3 Women is how it so poetically speaks to the need to connect and the essential human desire to be acknowledged. Looking at the film through the eyes of the college kid I was when the film was released, I'm aware of what I shared with Millie: pretentiousness, the need for self-invention (or re-invention). Also, what I shared with Pinky: a fear of growing up and a wish to remain childlike; a longing to care for and be cared for by someone.
Watching the film now as an adult, I find myself stunned by the keenness of its observations and touched by how gently Altman treats these damaged characters. Ultimately, I find 3 Women to be one of Altman's most humane works. And, after all these years, it remains, hands-down, my favorite of his many excellent films.

Pinky- "I had a bad dream."
Millie- "Dreams can't hurt you."

Copyright © Ken Anderson   2009 

THAT COLD DAY IN THE PARK 1969

The label of "misogynist" has followed the late director Robert Altman around since audiences were first invited to laugh at and identify with the anti-female, frat-boy antics of that annoyingly smug '70s geek duo of Elliot Gould and Donald Sutherland in M*A*S*H (hands down my least favorite Altman film).

Despite being responsible for some of the more cringe-worthy scenes of cruelty to women ever attributed to a single director (the coke-bottle-to-the-face scene in The Long Goodbye is the worst), in interviews, Altman has always asserted, rather persuasively, that he was, in fact, very sympathetic and respectful of women and that his films merely reflected...as a form of critique, one assumes...a reality for many women in a sexist culture. Of course, this argument would hold a good deal more weight were the women in his films not so frequently the sexualized objects of the male gaze, or depicted so unsympathetically in comparison to the male oppressors in the scene. (As reliable as a Hitchcock cameo, an Altman film almost always features a scene of a woman in some state of blunt nudity [usually in the presence of some form of humiliation] while male characters remain chastely clothed.)

But while Robert Altman may get it wrong a good deal of the time when it comes to depicting women onscreen, he's also one of the few directors, who, when he gets it right, does so spectacularly. Putting M*A*S*H aside, a film I consider to be sophomoric, boys' club dreck in spite of its reputation, Altman has an otherwise impressive track record of providing terrific roles for women in his films. The women may not be pillars of feminist ideology (in fact, almost all are neurotic or downright insane, as are most of the people in Altman films, anyway), but they are dimensional, recognizably human, and always compelling.

In his "plus" column I place That Cold Day in the Park (Altman's 2nd film), an off-beat, forgotten masterpiece of loneliness and sexual obsession.

Sandy Dennis as Frances Austen

Michael Burns as The Boy

Academy-Award-winning actress Sandy Dennis, on the downside of an unsustainable fire-hot popularity that began with 1966's Who's Afraid of Virginia Woolf?, stars as Frances Austen, a wealthy, 32-year-old woman living alone in a spacious apartment in Vancouver, Canada. Prim and cripplingly repressed, Frances lives a life of formal ritual, surrounded by friends who are at least 20 years her senior (they, like her staid apartment, appear to have been inherited from her dead mother).

One rainy afternoon she spies a young man sitting alone on a park bench and invites him in to get dry. The blankly cherubic 19-year-old (Michael Burns) speaks not a word, but allows the solicitous woman to bathe, feed, and eventually house him. The boy's silent passivity (he's never named) and apparent lack of friends or family enable Frances to project a great deal of her own loneliness onto his situation, awakening in her an acute awareness of her long-repressed desires. Before long, Frances' initial maternal concern gives way to darker obsessions as the boy comes to symbolize a last-chance grasp at life.

One of Frances' many joyless, ritualized social commitments

Something about the boy sitting alone in the rain touches Frances. A repressed woman who, up until this point, has given the impression of being rather icy and removed.

WHAT I LOVE ABOUT THIS FILM

Movies about older women and kept men date back at least as far as 1950s Sunset Blvd. Movies about old coots chasing after young women date back even further and are often presented as joyous romps (There's a Girl in My Soup - 1970) or timeless romances (think of pretty much every early Audrey Hepburn movie), but rarely is the creep factor explored because these movies are written by, for, and intended to flatter the ego of men. But in a world where women are seen as girls, girlfriends, or wives, older single women tend to be depicted as the stuff of horror. 

Another thing I've noticed is that, whether due to gender-role preconceptions which ignore the fairly common strong-woman / weak-male dynamic (seen in non-stop parade on reality TV court shows), or these narrative's close association with homosexual authors - Tennessee Williams' Sweet Bird of Youth, The Roman Spring of Mrs. Stone, and  Truman Capote's Breakfast at Tiffany's - films on the subject have always seemed to court a gay sensibility. Which is to say, the female characters in these stories could be replaced by a male without significantly altering the substance or themes of the narrative.

Sex Object
A rarity in most American films - Robert Altman asks us to share the feminine gaze.

Due to the predominance of male directors, writers, and cinematographers, movie audiences have grown quite used to the fact that films almost always represent the subjective male gaze. When on those rare occasions that gaze turns feminine and it's the male torso upon whom the leering close-ups are trained, audiences (particularly American males) are often made uncomfortable and don't quite know what to do with themselves. Film critics traditionally channel such discomfort into dismissing these films as being homoerotic or gay in their sensibility (the tact taken by critics reviewing the inarguably lousy but essentially harmless Sex and the City movies). Otherwise, they invoke a curious double-standard and label the male nudity as "gratuitous" or humiliating for the actor. At no time is the thought ever entertained that, for once, a film's gaze is intended to reflect the point of view of a female.

One of the strengths of That Cold Day in the Park is how it commits to reinforcing the gaze of its female protagonist and uses any ensuing audience discomfort to its atmospheric advantage. In a refreshing change of pace for an Altman film, a male (Michael Burns) spends most of the movie in various states of fetishized undress; the camera lingering over his bareness in a way usually reserved for comely starlets. From a narrative standpoint, all this suggested nudity underscores the character's vulnerability; but psychologically speaking, I like the way something so simple has the power to mess with so many minds. Men in movies are traditionally heroes and propel the plot. A great many, I'm afraid, are made uncomfortable when a male character is presented as not only passive, but subject to the whims of a woman.

Michael Burns, giving Joe Dallesandro a run for his money in the "passive, objectified male" sweepstakes

PERFORMANCES

Few actresses are as appealingly quirky as the late Sandy Dennis. Her performances are full of nervous mannerisms, eccentric tics, and vocal hiccups that you either love her for or else she annoys the hell out of you. I fall into the former category. In That Cold Day in the Park, Dennis has a role in which her trademark idiosyncrasies work toward defining an emotionally needy character stunted by a disturbing social awkwardness. I can't say her character is exactly likable (creepy is more the word) but Dennis's performance is touching and moves one to empathy.

Frances: "I remember my mother never stopped saying how lonely she was after my father died. 
She kept talking on and on, always reminding me how little company I was for her."

THE STUFF OF FANTASY

I love it when directors do more than just use the camera to record the action. Altman makes great use of the concealment/distortion value of shadows, glass, mirrors, and reflective surfaces. A good deal of the sense of unease this film elicits is due to the way Altman bisects and divides the screen, keeping the characters in their own separate worlds even when they share the same space.

Isolated Worlds
Although lonely herself, Frances is unable to return the affection an equally
lonely suitor (Edward Greenhalgh) extends to her.

Barriers
An attempt to reach out.

Separated
Frances holds one-sided conversations with the boy who cannot (will not?) speak.

Window Blinds or Iron Bars?
The characters in That Cold Day in the Park live in various self-imposed prisons.

THE STUFF OF DREAMS
I first saw That Cold Day in the Park back in the early 70s on a now-defunct San Francisco TV channel: KEMO-TV Channel 20 - which had this great late-night program called "The Adults Only Movie."  The movies were mostly foreign or art films (I must have been the only kid in my class who knew who Catherine Spaak was), but what 13-year-old could resist a program with a title like that? The version of That Cold Day In The Park I saw was heavily edited and viewed on a tiny black and white TV set in my bedroom, but it nevertheless blew me away and I sought it out many years later at revival theaters. Then, the film mostly impressed me as a kinky suspense thriller with a very powerful final act (and the male nudity didn't hurt, either). But over the years I have come to grow fonder of it as a labyrinthine character piece and dark treatise on loneliness. The shift of tone from somber drama to something unanticipatedly perverse is like a slow descent into madness.

Despite some cinematic evidence to the contrary, I really don't believe Robert Altman was a misogynist. His films with male leads have an off-putting thread of misanthropy and cruelty running through them, yet his films with female leads (The Company, 3 Women, Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) are infinitely gentler and markedly more humane. That Cold Day in the Park is almost delicate in the way it handles the Sandy Dennis character when it could have easily made her into some kind of a gynophobia-inspired monster.

OK, so the "grasping female" imagery doesn't support my argument, but is this a cool ad, or what?

I think in his own twisted way, Altman liked women a good deal more than men.


BONUS MATERIAL
Excellent review of the Richard Miles' 1965 novel at Pretty Sinister Books 

Copyright © Ken Anderson   2009 - 2011

SINGLE WHITE FEMALE 1992

The great granddaddy (grandmother?) of “roommate from hell” movies is director Barbet Schroeder’s (Reversal of Fortune) masterfully creepy Single White Female. Sheer perfection in its straightforward simplicity, Single White Female is a splendidly taut and entertaining thriller of escalating dread and suspense built upon two basic, highly-relatable human anxieties: sharing a living space with a total stranger, and wondering whether it’s possible to really know another person…even those to whom we are closest.
Fashioned as an intertangled character drama masking a mordant feminist critique—it can be argued that the entirety of the lead character's troubles arise out of the way society conditions women from an early age to harbor a fear of and resistance to being "single"; Barbet Schroeder’s Single White Female pairs the Roman Polanski urban paranoia thriller (Rosemary's Baby, The Tenant) with the Robert Altman personality-theft psychological melodrama (3 Women, Images) to chilling effect.

Bridget Fonda as Allison Jones

Jennifer Jason Leigh as Hedra Carlson

Steven Weber as Sam Rawson

Peter Friedman as Graham Knox

When an 11^th-hour betrayal results in software designer Allison Jones kicking live-in fiancé Sam Rawson out of her rent-controlled apartment, our despondent, titular SWF hastily places a classified ad (against the better judgment warnings of friend and neighbor Graham Knox) for a roommate.

Enter Rizzoli Bookstore clerk Hedra Carlson; timid, sweet-natured, and studiously amorphous; she’s like a substance incapable of reflecting light, only absorbing it. Girlish and diffident in the face of Allison’s easygoing poise, resourceful where Allison is self-doubting and insecure, indistinct and shapeless to Allison’s urban sleek, the women are less an odd couple than strangely analogous opposites. Indeed, Hedra sees in Allison an image of a life she’d very much like to have. Literally.

Allison and Hedra
From the Greek, Hedra is a word used in geometry to signify many faces

In short order, roommates blossom into girlfriends (Hedy! Allie!), girlfriends bond as sisters, and sisterhood evolves into a kind of free-form female family unit into which the only male allowed is Buddy the dog. Sure, Hedra’s a little clingy, a tad furtive, maybe even a little too watchful (“(It's) like she's studyin’ ya. Like you was a play, or a book, or a set of blueprints!” – All About Eve); but for a time, each woman finds in the other what they are individually lacking. Allie gets a companion to help stave off her fear of being alone, Hedy finds someone who fills a deep, unarticulated emotional void.

The disruptive reappearance of Allison’s ousted fiancé evokes D.H. Lawrence’s The Fox (an impression reinforced by the lupine features of Steve Weber) in that the intrusion of the male has an abruptly poisonous effect on the friendship the two women have thus far forged. Feeling subtly edged out (even the dog prefers Allie's company), Hedy makes a desperate, fumblingly inappropriate attempt to insinuate herself into the relationship of the reconciled twosome, a move which only serves to further drive a wedge. As she watches her prominence in Allie's life diminish, Hedy's already troublingly possessive behavior and obsessive interest in Allie begins to manifest itself in increasingly psychotic ways.

Family Portrait
Playing on the TV set behind them is the 1957 Rita Hayworth film
Fire Down Below, about a friendship torn apart by romantic jealousy

Although Single White Female features an abundance of intriguing subthemes: urban fear, feminine identity, lesbianism, sexual harassment, duality, women's tendency to invalidate female friendships in deference to men—Schroeder's uncluttered approach to the material and the film's familiar, easy-to-identify-with premise serves it extraordinarily well. The intelligent screenplay (adapted by Don Roos from John Lutz's 1990 novel SWF Seeks Same) simply lets the worst-case-rental nightmare scenario play out in accordance to the well-worn tropes of the classic stalker/suspense thriller, leaving plenty of room for the actors to fully and dimensionally inhabit their characters. The result is that instead of having the characters moved along by the demands of the plot, the characters themselves, as realized by the fine performances of Bridget Fonda and Jennifer Jason Leigh, dominate Single White Female.

As the film is structured, we know from the outset that the roommate situation will be problematic, just as we also know, this being a Hollywood thriller, that the central conflict must resolve itself with a sufficiently over-the-top, crowd-pleasing payoff: usually either cathartic (payback) or ironic (surprise twist). Thus, it's all the more appreciated that Barbet Schroeder manages to successfully subvert the plot's predictability by giving emphasis to the relationship between Allison and Hedra, making it feel authentic, while at the same time oddly discordant. The chemistry between these two women, vacillating between friendly, sororal, co-dependent, and adversarial...is the propulsive, compelling source of the film's suspense and considerably well-played chills.

The Happy Couple

When an arthouse darling like Barbet Schroeder (More-1969, The Valley Obscured by Clouds- 1972) makes a genre film, watching it is a little like seeing your sensitive, intellectual nephew running with the “wrong crowd”: there's concern as to which will exert the greater influence over the other.

Happily, I think Barbet Schroder’s arthouse sensibilities fairly dominate the first two-thirds of Single White Female, effectively drawing the viewer into the psychological drama before the melodrama and genre predictability of the final third takes over. He successfully turns both the city and apartment building into participating characters in the story, stressing the film's duality themes and appearances-can-be-deceiving angle by making both New York City and Allison's apartment building look simultaneously inviting and sinister.

"At least there's never a problem with privacy!"
Single White Female plays with the idea of strength and weakness, independence and helplessness. By all appearances, Allison is the character who has her life together, but the film allows her to be the one to harbor some of the more deep-rooted flaws. She is the first roommate to invade the other's privacy, yet she's made uncomfortable by Hedra's at-ease-with-herself informality (specifically, when she undresses in front of her). In the end, the women bond over the affectionate gesture of exchanged housewarming gifts. 

Barbet Schroeder displays such a sure touch with his handling of both the characters and the more rote aspects of the suspense thriller that the film’s third act, wherein Schroeder or the producers bow to the pressure to provide the ticket-buying public with the mayhem they crave, strikes the film's sole false note. While I have to concede that the violent conclusion is well executed and effectively delivers exactly what is expected of it (suspense, jeopardy, jump cuts); there's no denying that it's an improvement over the sprawling, drawn-out ending of the source novel; I nevertheless can't shake the feeling that it is an ending more genre-mandated than organic to the subtle, insinuating menace characterizing the rest of the film. I enjoy the ending for what it is, but it wouldn't surprise me were it revealed one day to be the work of another director entirely.

WHAT I LOVE ABOUT THIS FILM

Single White Female combines two of my favorite film genres: the psychological suspense thriller and the identity-crisis/mind-meld melodrama. Perhaps because I looked to movies in my own quest for some kind of identity parallelism during my youth (I grew up a bookish, introverted, black gay male, living in a predominantly white neighborhood and attending a private Catholic boys school, the only boy in a family of four girls, with a hardworking but emotionally reserved father), I harbor a particular fondness for movies about people grappling with their sense of self. Even the first student film I ever made (a deservedly lost Super 8mm masterpiece that served as my admission application to the San Francisco Art Institute) was a movie about a man haunted by his doppelganger.

Single White Female is a thriller first and foremost, a genre nail-biter calculated to deliver consistent chills. But in the way it seriously cranks up the fear factor by delving into the dark side of duality and the elemental search for self, it reminds me a great deal of so many of my most beloved identity-merge films: Persona (1966), Dead Ringers (1988), Les Biches (1968), Performance (1970), Mulholland Drive (2001), Vertigo (1958), and Black Swan (2010).

When Imitation Ceases To Be The Sincerest Form Of Flattery

To varying degrees, twinning is a natural by-product of intimacy, a normal part of all close relationships. You see it in long-term couples who begin to look alike and adopt similar mannerisms. You witness it in best friends who copy and adopt identical modes of dress. It's evident in noxious "bromances" in which entire groups of male friends attend the same gym, tanning salons, and share the same can of Axe body spray.
But no matter how extreme the mirroring, each of us relies on the existence of subconscious boundaries of individual identity to prevent us from ever completely losing ourselves to, or getting completely lost in, others. No such boundaries exist in Single White Female.

Femme Fatale

THE STUFF OF FANTASY

An innovative director with a strong visual style and a comprehension of cinema language is a boon to any film, but such gifts are especially welcome in a genre flick. While there are many directors who’ve distinguished themselves through their association with a particular type of film: Ernst Lubitsch (comedies), John Ford (westerns), Alfred Hitchcock (suspense thriller), and John Carpenter (horror); most would contend that plot-driven, trope-reliant films, whose structures require conformity to brand, don't always leave a lot of elbow room for artistic expression.

Skeletons in the Closet
Allison discovers something scarier than wire hangers
 in Hedra's closet: a wardrobe duplicate to hers

Premise and setup are the stars of the suspense thriller, the director earning accolades only to the extent to which their talents contribute to the successful realization of the narrative’s requisite “payoffs”: surprise, scares, intensity, suspense, etc. Mind you, this isn’t easy, and any director capable of pulling off an effective thriller deserves credit, but the thrillers that tend to stick with me are the ones that manage to follow the genre dots while still bearing the imprint of a director’s unique world view and artistic perspective. 

Barbet Schroeder approaches Single White Female as though it were a character study in which one of the characters just happens to be a psychopath. The time and care spent on defining the relationship between Allie and Hedy, shading it with a comfortable intimacy and credible eccentricity (Allie accidentally catches Hedy masturbating, but instead of turning away, she lingers, watching) lends this film the stamp of quirky distinction.

Mirrors feature prominently in Single White Female, a film
exploring the dark side of identity, duality, and self-image

A similar attribute is Barbet Schroeder’s use of mise-en-scène to amplify Single White Female’s themes. For example, the internal life of Allison, a character whose anxieties are fueled by insecurity (fear of being alone) and betrayals (her former business partner, her fiancé, and her client), is reflected in her external environment.

Allison’s apartment—spacious but just cramped enough to convey urban confinement—is in a building whose derelict condition signals neglect and inattention. The rooms of the apartment all face a circular foyer, which, once the roommates’ lives and likenesses begin to merge, creates an element of disorientation and distortion. Meanwhile, privacy (or rather, its lack) is vividly dramatized by the many angles, doorways, and alcoves people use to conceal themselves or suddenly pop into view from behind; air vents that serve as sound amplifiers to neighboring apartments; and telephone answering machines that either divulge too much or are too easily erased.

Troubled Waters
Beginning with the malfunctioning faucet that precipitates Allie getting to know her better, Hedra is associated with water throughout the film. Frequently shown bathing, showering, or in some way cleansing herself (shades of Lady Macbeth), water also figures significantly in Hedra's shadowy past.

PERFORMANCES

High-concept premise aside, the performances of Bridget Fonda and Jennifer Jason Leigh are the prime reason Single White Female endures for me, and why it continues to be such an enjoyable thrill ride after numerous rewatchings, long after its surprises have grown familiar.
When I think of actors who have good onscreen chemistry, my mind goes immediately to the similarities those actors share and the traits they have in common. But when I watch Single White Female I'm reminded that the most explosive onscreen chemistry comes from personalities with contrasting strengths that blend with symbiotic ease.

Who Is She?

The pairing of Fonda and Leigh—two actors who don't look alike; whose rhythms and acting styles contrast intriguingly; who exude self-restraint vs. barely held-in-check-- seems to draw out the inverse best in both. Fonda has never registered stronger, Leigh (in another lived-in departure for the versatile actress) is terrifying in her vulnerability.

The film uses both so well that, as with an ensemble piece, it's difficult to assess the work of one independent of the other. Suffice it to say that both actors inhabit their characters in marvelously realized performances that are so natural, that they manage to buff out the rough edges of the melodrama, making the formulaic feel fresh.

Occupational Hazard
Stephen Tobolowsky as Mitchell Myerson

As the film progresses, we learn that both Allison and Hedra have the same problem of repeating mistakes. It's revealed that Hedy is in the habit of attaching herself to people in an attempt to recapture and/or recreate a seminal relationship from her childhood. Meanwhile, Allie shows signs of being a serial bad-decision-maker. She bounces from one disloyal relationship (a failed business partner) to another (a faithless fiancé) to another (hastily opening her apartment to a woman she knows nothing about) to another (a business client whose intentions she misreads). 

THE STUFF OF DREAMS

I love scary movies, especially those rooted in the kind of mundane, everyday anxieties we all share. Alienation, urban paranoia, trust issues...the more the horror emanates from the basic insecurities that make up the human personality, the more intensely I relate to what is going on on the screen.

The Ansonia Apartments
Barbet Schroeder's homage to Rosemary's Baby

Like most kids, I loved to be frightened by monster movies. The worlds of Frankenstein, Dracula, and The Wolfman were so alien to my own existence that no matter how spooky things got, the essential "otherness" of what I was watching reinforced my subliminal safety-net reminding me that what I was watching was fantasy. Movies like these were capable of giving me a shudder, a shock, or a jolt of surprise, but they were too remote in context to ever really get under my skin. All that changed in 1967 when Alfred Hitchcock's Psycho had its broadcast television premiere. Suddenly the monster was human, the weapon a familiar household object, the victim undeserving of her fate, the violence not "safe" and bloodless, and the site (most horrifically) a personal safe haven of privacy.
My 9-year-old mind was blown. The kindertrauma spectacle of Janet Leigh’s shower murder opened a veritable Pandora's Box of everyday horror in my young life.

Ken’s Domestic Terror Timeline:

1967- Rosemary’s Baby published, In Cold Blood and Wait Until Dark released in theaters, and commercials for 1965s Return From The Ashes (in which a woman is murdered in her bathtub) appear on TV. 

Ken’s Social Terror Timeline:

1968- Martin Luther King and Robert Kennedy assassinated. San Francisco (where we lived) terrorized by The Zodiac Killer. I see Rosemary’s Baby at the movies and have the holy hell scared out of me.

1969 to 1971- The hippie movement gave way to scare-a-thon news coverage of the Manson killings, and The Doors' "Riders on the Storm" terrorized me from radio playlists.

All this happened over the course of a few years, but to my psyche, it felt as though it had happened overnight. Suddenly the illusion of safety that family and home provided was shattered by the realization that not even bathrooms are safe havens, human beings are the real monsters, and violence can sometimes be cruelly random. 

Single White Female taps into all these still-fresh-to-me horrors: Apartment buildings are genuinely creepy places that thrust you into close contact with total strangers; anyone alone is justified to feel vulnerable in a big city; and what is more mysterious and labyrinthine than the human personality? 

Copyright © Ken Anderson  2009 - 2018