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Tag: Angie Dickinson

Stillwatch: Lynda Carter and Angie Dickinson Collide

Lynda Carter in Stillwatch.

Lynda Carter’s shoulder pads are so impressively broad at times in Stillwatch (1987) that she resembles David Byrne in Stop Making Sense. You might optimistically wonder if the cushioning is tactical, meant to provide protection during that most sacred of ’80s primetime rituals: a catfight. But Patricia Traymore, her TV journalist, is too refined for that. Her inevitable showdown with scheming Senator Abigail Winslow (Angie Dickinson) results in a single slap.

A profiler of celebrities and politicians, Patricia’s been lured to Washington, D.C. by veteran newsman Luther Pelham (Stuart Whitman) to interview Winslow, who’s in the running to replace an ailing vice president. “I’ve always felt that the public’s right to know ends where my private life begins,” Abigail uncooperatively maintains, even though she’s a public servant whose career was built on the premature death of her congressman husband. Naturally, there are skeletons in her closet — and a few in Patricia’s, as well.

Dial ‘M’ for Murder: The Angie Dickinson Remake

Angie Dickinson with Ron Moody in Dial ‘M’ for Murder.

Onscreen adultery rarely looked more glamorous than when it was being committed by Angie Dickinson, who followed her turn as one of the more significant straying spouses in the history of cinema—in Brian De Palma’s 1980 classic, Dressed to Kill—with a TV remake of another notable tale of extramarital betrayal, Dial ‘M’ for Murder. In an intriguing departure from other adaptations of Frederick Knott’s stage play, Dickinson was 50 years old when she tackled the role of Margot Wendice—twice as old as Grace Kelly, who played Margot in Alfred Hitchcock’s Dial ‘M’ for Murder (1954).

That Dickinson’s Margot and Christopher Plummer’s Tony Wendice are an age-appropriate pairing subtly reconfigures their power dynamic. Grace Kelly’s youthfulness, contrasted with the Ray Milland’s cool, mature composure as a retired tennis player, enhanced her character’s vulnerability. In Andrew Davis’ A Perfect Murder, a 1998 remake, Gwyneth Paltrow would’ve been more believable as the daughter, not wife, of an embattled Michael Douglas. Dickinson, who held her own in westerns, exploitation flicks, police fare, and opposite the Rat Pack, was no ingénue by 1981, raising the domestic stakes.

Angie Dickinson Wields a Badge (Again) in Prime Target

Angie Dickinson shoots to kill in Prime Target.

Eleven years after Angie Dickinson last nabbed a perp as Sgt. Pepper Anderson on Police Woman, she was back in the hunt in Prime Target (1989). This made-for-TV movie reunites her with Police Woman creator Robert L. Collins, who writes and directs. As veteran NYPD Sgt. Kelly Mulcahaney, she’s both predator and prey while investigating crooked cops who’ve been murdering women on the force, and Dickinson seems uncharacteristically peeved.

“So, why am I heading this task force?” she asks after being handed the assignment by Commissioner Peter Armetage (David Soul, who looks amusingly louche behind his giant desk). “Because you’re one of the highest-ranking female homicide detectives we’ve got,” he answers. “Because you’re on the women’s committee. Because I requested you, personally.” They have a history, of course, and that’s where the hardboiled dialogue begins:

Kelly: You know what they’re gonna say about this. About us. Again.

Peter: Kelly, Kelly, Kelly. My friend.

Kelly: Not anymore, I’m not.

Peter: How’s Judge What’s-His-Name?

Kelly: How’s your wife?

Peter: God, you’re tough. Why are you so tough, huh?

PRime target (1989)

On her way out she tells him, “Oh, and by the way, happy birthday, Peter. I’d have brought you a present except” she shrugs “what do you give someone who’s had everybody?” We trust that Kelly’s formidable, but Dickinson appears bored in another of her tough-broad-in-a-man’s-world roles. She dutifully pauses after each barb lands, her mind possibly wandering to that night’s dinner plans.

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