MPAA Rating: R/Genre: Psychological Thriller/Stars: Clint Eastwood, Jessica Walter, Donna Mills, John Larch, Jack Ging, Irene Hervey, James McEachin, Clarice Taylor, Donald Siegel, Duke Everts, Jack Kosslyn, Britt Lind, and Johnny Otis, Joe Zawinul, and Cannonball Adderley as themselves/Runtime: 102 minutes
If there is a single lesson that people of all ages and from a variety of backgrounds seem destined to keep relearning in a variety of ways it would have to be the following: always choose who you pursue a romance with as carefully as possibly because you never know how it could come back to bite you. Of course, this should hardly be all that surprising. After all not only are there TV shows dedicated to this very idea (Cheaters, a fair portion of The Jerry Springer Show, and arguably every season of The Bachelor/Bachelorette), but there are also just as many in the way of movies that show what could happen if a person got with someone who turned out to be a little bit on the loopy side if you catch my drift and then went to some pretty terrifying lengths to ensure that the other person was theirs and theirs alone. Yet besides Fatal Attraction (duh), the vast majority of movies made for that distinct TV channel known as Lifetime, the 1996 “thriller” (I use that word in perhaps the loosest sense possible to humankind because of how unintentionally hilarious this movie can get) Fear starring Mark Wahlberg and Reese Witherspoon, and even the 2002 slice of cinema Swimfan (which I wish I could forget, but unfortunately I cannot much to my internal dismay) to name but a few there is one that I think stands side by side with the aforementioned Fatal Attraction as one of the better made entries in this distinct subgenre of movie magic. That being the 1971 slice of cinema, and film I happen to be reviewing for you today incidentally, Play Misty for Me. A film that, in addition to showing that even screen icon Clint Eastwood is by no means immune to having a film on his filmography where he is being terrorized by a loopy ex-lover, is also a vital entry in this legend’s filmmaking career since it happens to be the very first film that he chose to direct while also starring in the lead role. Naturally, with such noteworthiness to its name, it should not surprise any of you to learn that once upon a time a much younger (to say nothing of fairly free of cynicism) Alan decided to go to his local Blockbuster (points to your respective Hogwarts house if you remember what that was) and rent it for a few days being a fan of both thrillers and Clint Eastwood respectively. At the same time, it should not be that big of a surprise then to also learn that I really did enjoy this movie both that first time I saw it….and the 20-30 times I’ve watched it since. To be sure, it is not a flawless film by any means, but with the aid of fairly solid work on both sides of the camera Play Misty for Me “71” is nevertheless one cinematic nightmare that manages to be engaging from beginning to end and every chilling minute in between.
The plot is as follows: Taking audiences to the picturesque community of Carmel by the Sea in the state of California, Play Misty for Me gets its chilling story underway by introducing us to a man by the name of Dave Garver. A man who, among other things that could be told to you about him by both friends as well as associates, is a member of that distinct group known as radio disc jockeys who operates out of radio station KRML on the late-night shift and who also happens to be someone who (until recently) was known for being a bit of a womanizer as well. Yet even though he has started to shut down that particular aspect of his life, he still hasn’t fully closed it completely and that is where Mr. Dave Garver is, even without realizing it, inviting a bit of trouble to come into his otherwise spotless life. Trouble that soon arrives when, following his radio show one night, our hero makes his way to a late-night establishment (or bar if you prefer things simple) that he frequents and finds himself crossing paths with a fairly attractive woman by the name of Evelyn Draper despite her claiming that she is only there because she is waiting for her date to show up. Naturally things go a certain way that I don’t think I have to describe for you here and the two find themselves back at her place where she proceeds to confess to our hero that she wasn’t waiting on a date at all. Rather, she was waiting for him as she listens to his show every single night. More than that however, she is also the person who, for a long time prior to the start of our particular story, has called in every night and requested that Dave play the song Misty during his broadcast (hence the title of the film). From there, we soon witness as the pair decide to engage in what could best be seen as a “no strings attached and very casual relationship”. Unfortunately, while it seems like our hero is very much on board with this particular program, it would appear that Evelyn might not have exactly gotten the memo if you get my meaning. Something that is perhaps best made evident by the fact that she shows up to his house uninvited, she gets more than just a tad bit on the clingy side, and she even begins showing moments of a volatile temperament that even Jerry Springer might be afraid to let air on his show back in the day. Thus with Evelyn becoming more and more psychotic to say nothing of threatening all that he holds dear including his job, his life, and even an ex-girlfriend that he would love to try and rebuild a serious committed relationship with can our hero find a way out of this nightmare he inadvertently created or is he about to be taken off the air for good?
Now right off the edge of the vinyl record, it should be said that the work done by the assorted groups operating behind the camera on this particular cinematic chiller might not be grade-A plus, but even so they all nevertheless still bring quality work here to this stab (no pun intended) at a rather distinct subgenre of movie magic. Without any doubt whatsoever, this starts with the work done in the director’s chair by Clint Eastwood (making his directorial debut here) and while this is not his finest work as a director, it is still a film where you can see the seeds being planted for the directorial career that this cinematic icon has had since this film first came out in 1971. Indeed perhaps the main thing I really admire about his work here is how Eastwood is able to do a really good job at, much in the same way that John Carpenter did with the first Halloween, effectively constructing a palpable and rising sense of suspense and unease that is sure to leave you on the edge of your seat while not once having to bring any “jump scares” or buckets of blood to the table. Besides that though, we see that Eastwood is also able to ensure that the characters are rather three-dimensional individuals instead of just mere archetypes audiences had seen before. As a result, what we are given here is a genuinely engaging film complete with a cast of characters who, by and large, act like people much in the same vein as you or I which winds up making the film even more chilling as a result. Alongside the truly solid debut work done by Eastwood at the helm, this film also features a fairly well-written screenplay as penned by both Jo Heims as well as Dean Riesner respectively. Indeed in the hands of these 2 gifted scribes, this film’s script is, by and large, able to not only aid the work done by the director in terms of organically escalating the suspense and tension present, but it also proves to be mostly successful in constructing a narrative with a good foundation to it (a rather odd 15 plus minute excursion to the Monterey Jazz Festival notwithstanding) as well as contributing some engaging dialogue into the mix as well. Besides the work done by those 2 departments, this slice of cinema also features some truly dynamic work from Bruce Surtees in the cinematography department. Indeed through the effective merging of darkness and light on 35mm film as well as utilizing the peaceful environment in a way that contributes to the suspense rather than detracts from it especially in scenes between Dave and Tobie with Evelyn watching menacingly in the background, we see that Surtees is able to conjure up a more than effective vibe of dread and unease that permeates the film right from the very first frame. Last, but definitely not least in any way, shape, or form, this section of this review would not be complete without taking some time to talk about the work done here by Dee Barton (1974’s Thunderbolt and Lightfoot) on the musical accompaniment. Indeed not only does Barton’s score do a highly effective job of reinforcing the suspenseful and ominous atmosphere constructed by the other units, but it (in beautiful tandem with the jazz standard “Misty” by Erroll Garner) is also able to provide the film with a background that is equal parts melancholic and haunting respectively. Suffice it to say that when you also take into account fairly well-done work from the editing department as delivered by Carl Pingitore among others it’s clear that this slice of cinema is most certainly not flawless, but it also is by no means the cinematic equivalent of a record that’s been scratched and banged up due to lack of care and/or effort in handling it well either.
In addition to the highly skilled work engaged in by the distinct teams operating behind the camera, this slice of cinema is also one that is aided more than admirably by a collection of well-done performances in front of the camera by an impeccably talented roster of individuals. As with the previous section, this starts with the lead performance given by Clint Eastwood and he gives just as solid of an effort in front of the camera as he manages to give behind the camera. Indeed as David Garver, we see that Eastwood presents us with a rather intriguing character. This is because yes he does seem to be a fairly good guy for all intents and purposes, but he is also someone who kind of brought this mess on himself due to a real solid lack of thinking before acting when it came to his initial hook-up with Evelyn. Suffice it to say it’s a surprisingly relatable turn for a film like this and one that Eastwood brings to life brilliantly. As good as Eastwood is in this slice of cinema however, there is one performance that manages to stand above all the others. That being the one given by Jessica Walter as Evelyn Draper. Indeed Walter does a chillingly great job here of giving us a character who might seem innocent enough at first, but as the film goes on reveals to us someone who is a volatile mix of manipulative, increasingly unhinged, unpredictable to the hilt, and willing to do almost anything to keep David all to herself (did I say almost?). Suffice it to say it is easily one of the top 75 female villains in cinema and it’s no wonder that Walter was nominated for a Golden Globe for her work here as she is genuinely terrifying. Alongside the performances given by Eastwood and Walter, this slice of cinema also contains a solid turn from Donna Mills as Tobie Williams. Indeed not only do she and Eastwood actually have fairly good chemistry with each other, but Mills does a wonderful job here of giving us a character that, unlike the more chaotic and destructive Evelyn, is a significantly more caring and (dare I say) stable presence in the life of our hero that, when she discovers the mess that Garver is caught up in, is also not afraid by any means to do whatever she has to in order to protect both herself and him from Evelyn’s ever-growing psychotic wrath and fury. Finally, I definitely feel like this section would not be as complete as it could be otherwise if I didn’t take some time to talk about the work done by iconic character actor John Larch (who also worked opposite Eastwood in Dirty Harry the same year this was first released) in the pivotal role of Sgt. McCallum. Yes it might take a fair bit of time into the story before he shows up, but once he does there is no denying that Larch gives us a character that may initially butt heads with Garver during their first meeting and seem like the “stoic cop” archetype we’ve seen before only to, as the film goes on, reveal himself to be a supportive and more than slightly competent member of the law enforcement community who is willing to do what he can to help Garver get through this mess as swiftly as possible. Suffice it to say that, when you also take into account well-done performances from such talents as Irene Hervey (Cactus Flower from 1969), James McEachin (1972’s Fuzz), Clarice Taylor (Anna Huxtable on The Cosby Show), and even Clint’s directing mentor Donald Siegel among others it’s clear that this film might have some hiccups scattered about, but thankfully the efforts from this cast are able to do their part to make up for at least a few of them.
All in all and at the end of the day is Play Misty for Me the cinematic equivalent of being the lucky 14th caller on the radio and winning tickets to that one band you’ve wanted to see perform live yet had no desire to try and scrounge up 230 dollars apiece to go see? Sadly no though most certainly is that not an insult by any means to what the undeniably talented cast and crew have managed to accomplish here. With that said, is this the worst thing to happen to radio since they decided that Christmas music deserved its own 24/7 channel on Sirius XM? Thankfully, on behalf of both myself and my own degree of sanity, I can confirm that is most assuredly not the case either. To be sure, and as previously stated, this isn’t a scratch less cinematic record being played for us. Indeed not only are there certain elements which might cause one to raise an eyebrow especially when it comes to the dating dynamics and gender roles present, but the overall tempo of the film (especially with the jazz festival interlude) does seem to be a bit off and a fair amount of the characters (as we have seen time and time again) are sadly not given much in the way of narrative material to work with. Should you be able to accept these distinct issues that the film is saddled with, you will also see that the work done at the helm is admirably solid, the cinematography is very much on point for the kind of film that this is, the score is one that I wish was on CD so I could add it to my collection (and yes I still own CDs), the script is fairly well-written, and the performances by the cast in front of the camera (with particular regard to the ones provided by Eastwood, Walter, Mills, and Larch) are all skillfully delivered even with the aforementioned narrative material inequality in mind. Suffice it to say that no Play Misty for Me is not a flawless effort by any means, but even so don’t be surprised if after watching it you start to get a tingle of fear down your spine whenever you hear someone call in to your favorite radio or Sirius XM channel. Not that everyone who calls in is a complete and utter raving maniac mind you, but because I love listening to the VJs on 80s on 8 and, if possible, I would like to keep doing so until it’s time to renew my subscription. Make of that what thou will dear reader! On a scale of 1-5 I give Play Misty for Me “71” a solid 3.5 out of 5.
