One night, unusual stranger in need asks a woman living alone in a house in the woods if he can use her phone. It soon becomes clear that they're playing a strange mind game and that there's something very wrong about the woods.

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(as Michael Sloane)
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The Caller
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The Girl (as Madolyn Smith)
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Storyline

A mysterious man (Malcolm McDowell) comes to meet a woman living in a house in the woods. Who are they and why are their lives meant to cross? What kind of fate is in store for them? Written by choir boy <choirboy@jupiter.execulink.com> and shadow hunter__<shadowhunter@bbs.multiboard.com>>

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A strange visitor. A mysterious woman. A surprise ending...


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18 September 1987 (Italy)  »

Also Known As:

Alguém Está Chamando  »

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User Reviews

 
It's all a matter of points.
26 October 2008 | by (the Mad Hatter's tea party.) – See all my reviews

An undeservedly forgotten little feature by Empire Pictures. Where has this one been hiding? Instead of relying heavily on special effects, 'The Caller' sticks to an audaciously thought-provoking screenplay and confidently notable performances by its only two, but spellbinding cast members Malcolm McDowell and Madolyn Smith-Osborne.

A young lady living in the woods waiting for her guest to arrive for dinner is being unknowingly watched. There's suddenly a knock at the door, but it's a mysterious man who wants to use her phone as his had a car accident. But what follows on from that leads to the two questioning each other's motives and the true meaning of their encounter.

It would be an understatement if I called it strangely unconventional, as nothing seems quite what it is and due to that nature it's plain gripping. Watching the battle of wills and wits between McDowell and Smith is brought across with pure intensity, bold authenticity and a touch of sinisterness. As one thinks they have the upper hand, soon it comes crashing down, but the mind games still flow. The true intentions is mystifying on what's going on with these fabrications, up until the unhinged climax (where I can see why it could be a turn off or disappointment of some sort) that really does throw you of course and lands you back at square one. There's no-way any one can find this calculative fodder predictable. Michael Sloane's enduring story is cerebrally crafted as while it's talky, the twisty nature is well observed in its details of the plot and character's progression. The verbal confrontations rally up the unbearable tension and emotional drive. How it plays out is like something out of a stage show and Arthur Allan Seidelman's tautly measured direction lends to that magnifying atmosphere. You truly get the sense that there's on one else about, other then these two (nameless) characters. McDowell's quietly edgy turn is hypnotic and Smith's neurotically vulnerable persona is creditably delivered. Watching these two steadfast performances and their chemistry together was fantastic. The remote woodland setting adds to the isolated and uneasy style of the feature. Richard Band's score is minimal, but titillatingly subtle and eerie.

An oddly disorientating and elaborate, if simulating addition to Empire Pictures.


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