MYTHICITY: *poor*
FRYEAN MYTHOS: *drama*
CAMPBELLIAN FUNCTION: *psychological*
SPOILERS
A lot of the hour-long progarmmers on Brian Clemens' THRILLER emphasized mundane naturalistic psycho-killers. My only real reason for labeling this psycho as "uncanny" is because Clemens' script models him strongly after Norman Bates, with a "Lodger" touch or two worked in.
Rich lady Sandy Marshall (Carroll Baker) returns to the apartment she shares with her not-so-rich husband Derek. Sandy has been in the hospital recovering from a car crash, and she's still occupying a wheelchair, though her prognosis is that she will regain full mobility. Sandy's expecting just to pass the day quietly while Derek's gone on business. However, it's a hot summer day in London, and most of the locals have gone to the beach for the weekend. Unfortunately there's also a serial killer who's been preying on London women lately. The cops have one clue: a single prospective victim escaped the murderer, and she heard him refer to her as "mother."
A couple of cops get on the psycho's trail, and though they ferret out the correct suspect, they have no impact on Sandy's apartment ordeal. The killer gains entrance to the gated complex by pretending to be a delivery driver, and the camera's careful not to show his face at first-- though there's no mystery because there's only one suspect, aside from a briefly seen, creepy maintenance guy (Ronald Lacey).
Sandy doesn't hear from a neighbor when she expects to, which causes her to start worrying. Then in the near-deserted complex, Sandy encounters a handsome young guy named Tom (Max Mason). She appreciates his company at first, since he claims to be a resident. But eventually Tom seems "off" to Sandy, especially when he speaks of her car accident as highly improbable-- as if someone might have arranged it. And he also mentions that he served his wheelchair-bound mother for ten years, which seems to be his reason for wanting to hang out with Sandy.
Clemens almost seems to be setting up Tom to be some amateur detective who (correctly) suspects Derek of being a wife-killer. So when Sandy knocks Tom over the head and tries to wheel away for her very life, Clemens seems to be leading the viewer to believe Tom's a good guy. But no, Tom's the Oedipal assailant, though Clemens, to keep his precious ambiguity, barely explicates Tom's psycho-profile. The beleaguered viewer can only presume that Tom targeted Sandy and meant to kill her but started seeing her as "good non-sexual mother" rather than the "bad sexual mothers" he believed his other victims to be. But as Sandy flees, she needs a new antagonist--so Deadly Derek comes back that same night to knock off Sandy and blame it on the psycho. He and Tom end up fighting over Sandy, and after both men die, the movie just ends, unceremoniously. Usually Clemens' THRILLER dramas are solid if unambitious melodramas-- but this one is just a jumbled botch.
