A SIMPLE PLAN 1998

“No man chooses evil because it is evil; 
he only mistakes it for happiness, the good he seeks.” 

                                                          Mary Wollstonecraft -1790

The plot of A Simple Plan initiates with the simplest of premises and most relatable of fantasies: found wealth. Three men hunting in the snowy woods of Minnesota happen upon a downed private plane in whose wreckage is discovered a dead pilot and a bag containing $4.4 million in cash. Reasoning that no one is likely to lose that kind of money without someone eventually coming to look for it, Hank (Bill Paxton), the most level-headed and intelligent of the trio, suggests they alert the authorities and hope for a reward. The two remaining discoverers--Jacob (Billy Bob Thornton), Hank’s slow-witted older brother, and Lou Brent Briscoe), Jacob’s equally slow-on-the-uptake best friend--motivated by chronic unemployment and an inability to fully grasp all that’s at stake, argue that such a sizable cash sum MUST mean the money is drug-related and therefore less likely to be reported as lost or missing. So they all vote and instead decide to keep the money, splitting it three ways. 

Bad Omen
A fox attacking a henhouse sets into motion events that appear at first glance to be good fortune, but the film's recurring visual motif of crows signals something entirely different

Hank, outnumbered, already an accomplice, and swayed by circumstances of his own—his job is dead-end and his expectant wife Sarah (Bridget Fonda) is due any day—agrees not to report the money on the proviso it remains in his possession and they do nothing until enough time has passed to assure no one is looking for it.

Sounds simple enough. 

The bad luck crow motif materializes in Hank and Sarah's home

But this is a contemporary morality tale. If good fortune is responsible for awarding this trio“The American Dream in a goddamn gym bag,” then their tragic flaw proves to be their inability to realize what a bad omen it is to have such a stroke of good luck come at the expense of someone’s life (the anonymous pilot of the downed plane). Once the deal to keep the money has been struck, it isn't long before the group (which has now come to include Sarah, exhibiting heretofore-untapped reservoirs of resourcefulness and guile) is beset by a veritable Pandora’s Box of setbacks born of bad judgment, greed, mistrust, and betrayal.

Bill Paxton as Hank Mitchell

Bridget Fonda as Sarah Mitchell

Billy Bob Thornton as Jacob Mitchell

Brent Briscoe as Lou Chambers 

Combine the intricate plotting of Alfred Hitchcock with the psychological complexity of Claude Chabrol, and you’ve got a pretty good idea of how deftly A Simple Plan mines both the suspense and moral ambiguity in this tale about a group of otherwise decent people entering into a hastily-conceived plot to stealth away a fortune in ill-gotten gains. But as much as unforeseen narrative twists make for a story full of roller-coaster thrill ride of obstacles, and grievous, sometimes fatal, errors in judgment; it’s the complicated, contradictory impulses of the various characters—their individual personalities, motivations, and interrelationships—that give the film its most compelling jolts of knots-in-the-stomach intensity.

Merging elements of the crime thriller, the heist film, and the murder mystery, A Simple Plan’s unique perspective distinguishes itself in never feeling as though the machinations of plot and genre are the forces moving the characters along. Everything that happens—even those events furthest beyond the scope of the expected, feel like the organic, inevitable consequence of the combustible, putting-out-fire-with-gasoline interactions of dissimilar individuals forced by circumstance into an unlikely, unlucky alliance.

Three on a Match

WHAT I LOVE ABOUT THIS FILM

I can't say I'm all that familiar with the work of Sam Raimi. Fans of the director will cite his series of Evil Dead cult films, but of the director’s to-date 15 feature film releases, I’ve seen only The Gift (2000) and Spiderman (2002), neither making much of an impression on me. So A Simple Plan,  to my way of thinking, a practically perfect crime suspense thriller, exists in a pristine little bubble. I can enjoy it as a free-standing work of distinction, without having to attribute any of its merits to director trademarks or signs of a talent maturing.

Happy New Year

I don't recall being interested in seeing A Simple Plan during its theatrical run, but on the strength of all the buzz surrounding Billy Bob Thornton's Oscar nomination later that year (one of two received by the film, the only one in the acting categories) I checked it out when it became available on DVD. If curiosity about Thornton's impressive physical transformation is what initially drew me to A Simple Plan, it ultimately became the least significant aspect of the film.
Almost instantly I responded to the dramatic potential of the setting, characters, and situation, engrossed by the unexpected intimacy achieved in approaching a heist/crime film as though it were a character drama. Raimi builds suspense like a master, overlaying the story with telling small-town details and a well-sustained tone of enveloping dread and tragedy. Even the bleak, wintry landscape seems less the work of Mother Nature than an ill-effects response to the numbing effects of greed.

Indeed, the weather is practically another character in A Simple Plan. I credit Raimi with giving his film a look representative of what its nearing-middle-age characters’ lives must feel like: constrained, hemmed-in, and as anchored as the figures in a snow globe. As Sarah brutally lays out in a scene of clear-eyed fatalism, when it comes to what possibilities life holds for these average, unexceptional people, the die is pretty much cast. Many scenes begin with shots of vast, icy stillness or crow-eye views of limitless banks of snow and nothingness.
Even at the very start of the film, when the streets are adorned with Christmas decorations and Hank walks with a lightness we’ll never see in him again, at no time is the snow made to appear picturesque or poetic. From the frosted windows, slate-gray skies, and characters swathed in layers and layers of insulated clothing (even indoors); the weather is presented as just another hardship. A severe, isolating, suffocating obstacle to an easier life. 

Gary Cole as Neil Baxter

PERFORMANCES

A Simple Plan's Oscar-nominated screenplay is by first-time screenwriter Scott B. Smith, adapted from his own 1993 novel. Paring down the story to the bare bones of its suspense-thriller structure, Smith's economic screenplay combines a strong eye for the shortcuts of visual storytelling with an ear for the kind of character-establishing dialogue one associates with a stage play. The tension-filled narrative flows easily from plot twist to plot twist, never once feeling contrived or labored. Best of all, he manages to accomplish all this while keeping the film’s central focus on the disintegrating relationships between the characters, and the telling ways they respond to having their theoretical (superficial?) principles tested by a genuine moral dilemma.

Without the benefit of much in the way of backstory, Smith’s characters, whether in moments of monstrous callousness or pitiable despair, are granted a level of humanity lacking in the novel. A grace attributable to the authenticity and depth of emotion the cast brings to their characters.

Bill Paxton and Billy Bob Thornton (who appeared together in 1992’s One False Move) share a symbiotic anti-chemistry as the brothers with nothing in common “…except maybe our last name.” The late Bill Paxton, whose settled-in boyishness lends his Hank the look of a self-disappointed fair-haired child, is all agitated exasperation and impatience in his scenes with Thornton. College-educated and preppy-fastidious next to the town’s hayseed casual, one senses Hank enjoys feeling like the civilized big fish in a little pond. Paxton taps into the seeds of disenchantment that lay just below the surface of Hank's easygoing affability. Paxton is terrific and it's easy to see why he was so often cast as likable characters. He radiated an easy openness and accessibility masking layers of complexity.

Sarah Discovers the Source of the Money 

Personal fave Bridget Fonda (Single White Female), exuding almost Shakespearean levels of steely dominance, proves to be as much of a surprise and dramatic force-to-be-reckoned-with as Thornton. From the moment her character is introduced we’re made aware of how smart she is, but as the promise of “what can be” comes to poison her tolerance for “what is,” she morphs into something of a domestic underworld mastermind. It's great fun (and plenty scary, too) to witness her transformation from bubbly bride to hardened housewife... like Carroll Baker running that all-lady hit squad out of her kitchen in Andy Warhol’s BAD.

Brent Briscoe as the oafish Lou is a Master Class lesson in how to humanize an unintelligent character lacking in self-awareness. He even achieves the impossible by playing a drunk scene convincingly. Pouring a life's worth of resentment into the way he unfailingly refers to Hank as “Mr. Accountant,” Briscoe's pivotal drunk scene calls for whiplash emotional shifts from jocularity, betrayal, heartsickness, desperation, and ultimately, rage. Briscoe plays it in a manner that takes us with him on this rollercoaster, letting us see where these emotions come from. 

Billy Bob Thornton pulls off something similar, but on a much more heroic scale, with his brilliant turn as Jacob. True, it’s become an Oscar-bait cliché for an actor to deglamorize, adopt intellectual disabilities, or lose themselves under pounds of prosthetics; but Thornton's external transformation is no acting stunt. The change in his outward appearance is largely the result of what he's doing on the inside; Thornton inhabits his character.
In showing us the man behind the loser’s countenance, Thornton sidesteps the easy pathos, revealing Jacob to be one of the least self-deluded characters in the film, one wholly lacking in self-pity. One of A Simple Plan’s many twists is the upending of the expectation that the relationship of these polar-opposites brothers might bear a trace of a George and Lennie Of Mice and Men dynamic. Far from it. In a particularly uncomfortable scene (exceptionally well-played by Paxton), the casually supercilious Hank learns that the misfit Jacob not only mocks him behind his back, but regards him with a level of disdain that borders on contempt.

THE STUFF OF FANTASY

I think one of the major reasons I love movies about “plans gone awry” is because I’m a control freak and lifelong non-joiner who goes out of his way to avoid groups, teams, and collaborations of any kind. These movies confirm my worst fears. My favorites: Silent Partner (1978), Before The Devil Knows You’re Dead, (2007), What Became of Jack and Jill? (1972), Jackie Brown (1997), The Killing (1956), Fargo (1996), and Séance on a Wet Afternoon (1964)—all involve meticulously arranged plans going horribly awry due to the human factor. The factor of error that comes from disparate characters pursuing the same goal, but for wildly different reasons.

"Did you tell him about the plane?"

A major thrill to be had in watching A Simple Plan is getting caught up in the yo-yo pull of being initially drawn to one character, only to be confronted with something unsavory in them, then suddenly having your sympathies shifted elsewhere. The trick of making the viewer complicit in a crime is nothing new (Hitchcock’s Psycho), but the quality of performances in A Simple Plan raises the emotional stakes and ups the tension ante. By the time the film arrived at its crushing conclusion, I was fairly wrung out from the suspense.

THE STUFF OF DREAMS

The first words spoken in A Simple Plan belong to Hank, recounting in voiceover something his late father (a simple farmer who lost his land to debt) once said to him about what it takes for a man to be happy: “A wife he loves, a decent job, friends and neighbors who like and respect him.” Hank, in carving out a life for himself substantially more stable than that of his parents, has attained all of these. Hank and Sarah both work at jobs neither finds particularly fulfilling: she at a library, he as an accountant at the local feed mill; but with a nice home, the respect of the community, and a baby on the way, they have realized a humble their version of the American Dream.

But built into the American Dream is a paradox: a reverence for achievement, ambition, and accumulation that’s at fundamental cross-purposes with being content with what one has. As a culture, we don't seem to respect people who are happy in their lot…we call them slackers and underachievers. Yet for people who devote their time and efforts to amassing and hoarding obscene levels of wealth, we've only terms of admiration.

A Simple Plan reveals that Hank, like many people in this country, has adopted the belief that having more is always preferable to having enough. He can’t conceive of happiness as a place in the present, only an idealized destination point on the horizon of some nebulous “future.”

This thematic subtext underscores everything that happens in A Simple Plan, asking us to examine the moral distinction...if there exists one...between need and want. Happiness is always held up as the ultimate goal behind all the greed and hunger for acquisition our society seems to worship. We keep telling people to dream big and set their sights high, to meet goals and then set bigger ones when those are achieved. But does there ever come a time when chasing after the next big thing is too high a price to pay for happiness? 

As each news cycle brings with it increasingly disheartening evidence of America’s rapidly disintegrating moral compass; as absurd and corrupt “leaders” normalize justification and deception while distorting the values of truth and honesty in the interest of money and power; I’m afraid A Simple Plan already reveals itself to be a bit of a timepiece in suggesting that the loss of one’s humanity is a loss of considerable significance.

BONUS MATERIAL

Mr. Schmitt, a disgruntled customer accusing Hank of faulty bookkeeping, was played by actor and producer John Paxton, the 77-year-old father of Bill Paxton. John Paxton died in 2011.



Copyright © Ken Anderson   2009 - 2019

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