Good bright color and 1980s slow motion, bad Pink Floyd music. Women be shoppin’, then be gettin’ murdered at their homes in Tucson. Was it possible for artists working in the 1980s to not produce an “80s movie?” Certainly not in this case, and the music is largely to blame. Cammell pulls off some great angles and edits, like a glitchy Nic Roeg movie, and overall I felt bad not liking it after reading this.

David Keith is an audiophile home stereo installer, who drives an ugly green van while listening to opera. The cops start questioning him about being nearby the recent savage serial killings, leading his wife (Bronx blonde Cathy Moriarty) to ask questions, leading to marital discord. Her husband is very upset about being considered a possible murderer, although he is the murderer, and now he sets out trying to murder her and their daughter. If you’ve seen a 1980s movie, you know this will all lead to machine guns and explosions, somehow. The husband is the Firestarter dad, while the murder investigator is from Christine. I checked to see if I could find enough Stephen King movie veterans to form a pattern but just ended up with The Keep, Matinee, Witch Hunt, and Return of the Killer Tomatoes.

Our hero James Fox is trashing the office of a gambler who didn’t pay protection, which is a trend in movies I watched this week. The gambler then trashes Fox’s place and gets shot for it, now Fox has to lay low until his boss can get him onto a boat for New York. He stays with some druggie beatniks who grow mushrooms, led by Anita Pallenberg and including Mick Jagger. Now we’ve got two of the worst kind of people in movies: the violent gangster and the drippy hippie. The hippies’ influence is felt on the filmmaking – once we arrive at the house, the editing stops jumping into the future/past and the camera roves around more.

Hard to see Fox’s makeshift red-paint hair-dye job in this light:

Mick dances with a fluorescent light then lip-syncs a music video. Fox inevitably gets fed a crazy mushroom. When his men come to pick him up, he shoots Mick in the head and maybe becomes him. At one point I paused to look up whether Bergman’s Persona had opened in the UK early enough to have been an influence (yep, mid-1967).

Brown sugar in the foreground when Mick is introduced:

It’s all more sordid than I was expecting… gonna have to be one of those respected cinema classics that doesn’t become a personal fave. At least Peter Labuza agrees. Roeg’s first movie as (co-) director, having ended his cinematographer-for-hire career with Petulia. Writer/director Cammell later made three other features which all sound intriguing: an audiophile serial killer, Anne Heche as a call girl, and a computer impregnates Julie Christie.