Leigh Michaels is a young woman newly moved to Los Angeles, who starts receiving crank phone-calls and disturbing mail from some unknown stalker. Convinced he means to kill her, and with the police powerless to act, Leigh takes matters into her own hands ...
This is one of the best TV-movies of the seventies (second only to Duel), a crackerjack stalker thriller which exploits all the paranoid young-woman-alone ideas it has to the hilt. What makes it so exceptional is the direction, which is sky-high above the TV standard make-it-cheap and make-it-quick. This little film has lots of dolly shots, nice time-lapse dissolves, carefully composed framing, even a triple-zoom-reverse (when Leigh realises the killer is spying on her from the building opposite). Robert B. Hauser's camera-work is superb throughout, such as in the tense scene where Leigh hides inside an air-conditioning vent and the killer unwittingly walks on top of her. Carpenter may be cribbing a little from Rear Window but he racks and racks the tension and gets a fine performance from Hutton as a woman who is both terrified of her attacker but outraged that he should make her feel that way. The leads are all nicely off-the-wall; Hutton and Birney have the usual female-male leads passive-aggressive traits neatly reversed and Barbeau is a likable, wisecracking lesbian colleague ("Smoking your dinner ?", she quips at one point). For Carpenter addicts there are a plethora of in-jokes; a reference to his birthday and his producer partner Debra Hill, the TV-station is called KJHC and an unseen character is named Elizabeth Solley (Jamie Lee Curtis in The Fog). This is a minor piece in Carpenter's rich back-catalogue (he shot it just prior to Halloween), but a terrific showcase of his talent and sensational work by TV standards.
This is one of the best TV-movies of the seventies (second only to Duel), a crackerjack stalker thriller which exploits all the paranoid young-woman-alone ideas it has to the hilt. What makes it so exceptional is the direction, which is sky-high above the TV standard make-it-cheap and make-it-quick. This little film has lots of dolly shots, nice time-lapse dissolves, carefully composed framing, even a triple-zoom-reverse (when Leigh realises the killer is spying on her from the building opposite). Robert B. Hauser's camera-work is superb throughout, such as in the tense scene where Leigh hides inside an air-conditioning vent and the killer unwittingly walks on top of her. Carpenter may be cribbing a little from Rear Window but he racks and racks the tension and gets a fine performance from Hutton as a woman who is both terrified of her attacker but outraged that he should make her feel that way. The leads are all nicely off-the-wall; Hutton and Birney have the usual female-male leads passive-aggressive traits neatly reversed and Barbeau is a likable, wisecracking lesbian colleague ("Smoking your dinner ?", she quips at one point). For Carpenter addicts there are a plethora of in-jokes; a reference to his birthday and his producer partner Debra Hill, the TV-station is called KJHC and an unseen character is named Elizabeth Solley (Jamie Lee Curtis in The Fog). This is a minor piece in Carpenter's rich back-catalogue (he shot it just prior to Halloween), but a terrific showcase of his talent and sensational work by TV standards.