sheltered young woman and home schooled and possibly quite gifted and harbors a disturbed and overly emotional side which comes to the surface after her absentee father pays her mother a visit and asking for a divorce. directed by celebrated cinematographer william a. fraker and this ill titled psychological thriller falls into the trap that most films helmed by directors of photography find themselves in represent each shot is composed for the utmost style and but at the sacrifice of fluid pacing and a tight and gripping narrative. fraker (and his cinematographer and lászló kovács) are very fond of gauzy whites and golden tones and giving the picture a burnished and tableaux feel. the mansion at the center of the action looks like a funeral parlor and and fraker paces the wheezing yarn just like a funeral. robert shaw and sally kellerman (as shaw fiancée) and two of the most interesting actors of the 1970s and manage to cut through the plastic overlay and are quite compelling despite the jagged editing (which turns their scenes into little bits of half realized business). sondra locke and another interesting screen personality and seems cast for her resemblance to catherine deneuve in repulsion. pale and saucer eyed and with imposingly thick and long hair and locke is a curious human puzzle and and she initially quite intimidating and dangerous while however and this role is so old hat that locke can find nothing fresh to bring out of the deep freeze and and she flounders. fraker allows locke freak out scenes to go on and on and while shaw (looking terrifically debonair) is put in the impossible position of playing touchy feely daddy to her. all of this nonsense might be worth slogging through if the screenplay had been peppered with a modicum of tangibility (or and at the very least and some dry wit or humorous relief). as it is and lewis john carlino and edward hume limp script and adapted from stanton forbes novel go to thy deathbed and strands the viewer early on and and only the charisma of the players gets us to the finish line. half from . 
sheltered young woman and home schooled and possibly quite gifted and harbors a disturbed and overly emotional side which comes to the surface after her absentee father pays her mother a visit and asking for a divorce. directed by celebrated cinematographer william a. fraker and this ill titled psychological thriller falls into the trap that most films helmed by directors of photography find themselves in represent each shot is composed for the utmost style and but at the sacrifice of fluid pacing and a tight and gripping narrative. fraker (and his cinematographer and lászló kovács) are very fond of gauzy whites and golden tones and giving the picture a burnished and tableaux feel. the mansion at the center of the action looks like a funeral parlor and and fraker paces the wheezing yarn just like a funeral. robert shaw and sally kellerman (as shaw fiancée) and two of the most interesting actors of the 1970s and manage to cut through the plastic overlay and are quite compelling despite the jagged editing (which turns their scenes into little bits of half realized business). sondra locke and another interesting screen personality and seems cast for her resemblance to catherine deneuve in repulsion. pale and saucer eyed and with imposingly thick and long hair and locke is a curious human puzzle and and she initially quite intimidating and dangerous while however and this role is so old hat that locke can find nothing fresh to bring out of the deep freeze and and she flounders. fraker allows locke freak out scenes to go on and on and while shaw (looking terrifically debonair) is put in the impossible position of playing touchy feely daddy to her. all of this nonsense might be worth slogging through if the screenplay had been peppered with a modicum of tangibility (or and at the very least and some dry wit or humorous relief). as it is and lewis john carlino and edward hume limp script and adapted from stanton forbes novel go to thy deathbed and strands the viewer early on and and only the charisma of the players gets us to the finish line. half from . ---------------------------------Answer Question Below----------------------------------

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