One of the most popular genres of modern thriller revolves around women in compromising situations laden with discomfort, male entitlement, and gaslighting. It’s far from a new genre, but with the rise of the #MeToo movement and female autonomy constantly on the ballot (seemingly every election forever) its prominence in film is as unsurprising as it is actively engaged with by female Hollywood. From the blockbuster highlight that is Barbie to 2016’s Netflix release on Christine Chubbuck, its relevance and constant presence is addressing an audience that’s engaging with this material personally.
Anna Kendrick’s directorial debut is a strong entry into this modern film focus, based on the 1978 story of “The Dating Game Killer” Rodney Alcala. Alcala was convicted of the death of seven women (with an estimated total body count around 130). During his spree he boldly stepped out in public as a contestant on “The Dating Game.” Kendrick was originally only attached to star but hopped into the director’s chair when Chloe Okuno (Watcher) stepped away. Her work here is playful, direct, and in places horrendously uncomfortable.
Woman of the Hour is held together by two major performances from Kendrick and Daniel Zovatto (It Follows, The Pope’s Exorcist). Kendrick tackles Cheryl Bradshaw, contestant on the dating game that is struggling as an actress due to trying to maintain her dignity. Kendrick feels personal here, littering the film with references to studios wanting underwear photos and sexual debasement or airheaded bimbos for their television shows and segments. Her prickling at these types of requests gives the character a simmer that’s near a boil and she handles it deftly. Existing at the intersection of business and misogyny, Woman of the Hour takes a serial killer story on an L.A. TV set and adds new depth to it.
It’s a strong contrast to the cocky demeanor of Zovatto as Rodney Alcala. The killer stalks women with an assumptive privilege that was the bread and butter of his spree. Much of Alcala’s spree was allowed to continue when reports of him were ignored, particularly those coming from women. Zovatto’s performance is all swagger to cover an insecure, entitled individual who knows how to use his personality to wedge himself into situations where he doesn’t need to fear repercussions. It’s a particularly upsetting character but unfortunately one that I think many of us know. They just probably aren’t killing anyone.
Woman of the Hour runs close to what I call “The Texas Chainsaw” problem. The 2003 remake of that film starred Jessica Beal, the most 2003-looking person in Hollywood at the time. Setting her in a 1970s film took it right out of the reality it tried to established. Kendrick manages to hold her own in the attire, settings, and even lingo of the 1970s impressively. For such a modern performer she’s heartily able to embody her 1978 character well. Seriously, watch the footage. Kendrick isn’t completely embodying Bradshaw to the letter but she’s managing to bring undertones that work wonderfully.
Woman of the Hour is a strong debut from a talented performer. It’s exciting, upsetting, and intrinsically personal. The run of films in this vein is still going strong and shows no signs of slowing down. I’m glad to see it lending a voice to highlight an issue with such success.
Woman of the Hour is streaming on Netflix.
WRITE DRUNK; EDIT DRUNK 