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Tag: Sylvia Sidney

Death at Love House: An Odd ’70s Mix of Old Hollywood and the Occult

Kate Jackson and Robert Wagner in Death at Love House.

For a few fun years in the 1970s, Kate Jackson was the queen of the humdinger ending. From Killer Bees to Death Cruise and Satan’s School for Girls, she delivered morbid laughs with a winsome smile. Unlike those offerings, director E.W. Swackhamer’s Death at Love House (1976) isn’t particularly humorous—at least not intentionally—but its overwrought ending might remind you of the flaming baby scene from Susan Slade, which puts it in a league of its own.

Jackson’s Donna Gregory is the newly pregnant wife and writing partner of Joel Gregory, Jr. (Robert Wagner). Together they’re probing the history of Joel Sr., the father Junior barely knew, and his turbulent Hollywood romance with the late Lorna Love (Marianna Hill), a legendary bombshell actress. If the actors aren’t entirely convincing as Didion and Dunne knockoffs, modern audiences would have to uncomfortably concede that Wagner (who also plays Joel Sr.) is right at home in a story about the sordid circumstances surrounding the premature death of a beloved actress.

The Secret Night Caller: Psst—Mike Brady’s a Perv!

Robert Reed looks sinister in his car in an image from The Secret Night Caller.
Robert Reed plays a family man with a shameful compulsion.

The Secret Night Caller begins atmospherically enough. A woman walks home alone at night, carrying a grocery bag. She picks up the pace when passing a creepy man who smiles at her and then seems to follow her into the building. Inside her apartment, she locks the door with a sigh of reliefand, seconds later, the phone rings.

Before there was Scream‘s iconic opening scene, in which a mystery caller terrorizes Drew Barrymore’s character, there was this, in a 1975 made-for-TV movie. The woman picks up the receiver and is greeted by that scourge of the pre-caller ID era, the obscene caller. We only hear her side of the conversation: “Hello? Oh, yes, this is Charlotte, who’s this? Well, I’m fine, thank you, but who’s this? I’m sorry, could you speak louder? I can’t hear you.”

Charlotte (Arlene Golonka, of The Andy Griffith Show and Mayberry R.F.D.) grows dismayed, then hysterical. “What?! What did you say?! Hey! Hey, who is this? Who are you? No, stop that! Don’t talk like that! Oh, stop it, stop it!” she shrieks, dropping the phone. That’s how my wife typically reacts to fundraising calls from her alma mater, so it didn’t alarm me too much, but Charlotte’s fright is meant to be contagious.

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