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Tag: Elizabeth Montgomery

With Murder in Mind Squanders a Bewitching Talent

Elizabeth Montgomery in With Murder in Mind.

From The Legend of Lizzie Borden and A Case of Rape in the 1970s to Sins of the Mother and Black Widow Murders in the ’90s, Elizabeth Montgomery was the queen of the based-on-a-true-story TV movie. Sadly, though her bearing was regal as ever in 1992’s With Murder in Mind (also known as With Savage Intent), the film around her is every bit as soggy as her rain-drenched surroundings in The Victim.

Murder’s structural problems begin and end with its screenplay, credited to Daniel Freudenberger (A Strange Affair). In the 90 minutes we spend with Gayle Wolfer, a successful realtor in Western New York who survives a heinous shooting, we learn virtually nothing about her other than she’s a new grandma and, we’re repeatedly told, an inspiration. If the idea was that our affection for Montgomery would transfer seamlessly to her brusque character, Freudenberger and director Michael Tuchner (Summer of My German Soldier) were mistaken.

The Victim: Soggy Suspense with Elizabeth Montgomery

Elizabeth Montgomery in The Victim.

“When something’s dead, the only decent thing to do is bury it,” Elizabeth Montgomery’s younger sister tells her in the made-for-TV thriller The Victim (1972). Susan Chappel (Jess Walton) is referring to her marriage to Ben (George Maharis); she recently retained a divorce lawyer. But in a macabre twist, she’s soon dead herself—and certainly not buried.

As Kate Wainwright (Montgomery) inches closer to that horrifying discovery, we’re treated to 75 minutes of thunder and lightning and close calls with a corpse. Hitchcock’s Rope it ain’t, but The Victim (adapted by Merwin Gerard from a story by McKnight Malmar) derives its more twisted suspense from a body in a trunk. And this time it’s wicker and not entirely closed, allowing viewers to notice what escapes Kate’s attention in Ben and Susan’s dark basement.

Elizabeth Montgomery’s Sins of the Mother

Elizabeth Montgomery raises a toast to an appalling lack of boundaries in Sins of the Mother.

If ever a film review deserved the headline “Bebitched,” it is Elizabeth Montgomery’s Sins of the Mother (1991). Adapted from Jack Olsen’s true crime novel Son: A Psychopath and His Victims, Sins does for motherhood what Montgomery’s The Legend of Lizzie Borden (1975) did for daughters.

Wooing her son one minute, tearing him to shreds the next, her Ruth Coe has the colorful vocabulary of Moira Rose; the histrionic tendencies of Rose and Lucille Bluth; and enough sinister Cluster B features to fuel an HBO limited series. On a cinematic scale of mother-son immorality, ranging from Psycho to Savage Grace to Ma Mère, Ruth’s relationship with son Kevin (Dale Midkiff of Back to You and Me) is mercifully mild. They are, in some ways, a more respectable version of con artists Lilly and Roy from The Grifters.

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