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Pretty Poison (Noel Black, 1968)
Adapted by Lorenzo Semple Jnr. from Steven Geller's novel She Let Him Continue (and not to be confused with the 1996 TV movie of the same title); Pretty Poison is another overlooked cult gem with hidden depths, and a deliciously mean streak of blackly comic psychological horror.
Arsonist Dennis Pitt (Anthony Perkins who made a career of playing nut jobs) is released on probation from a mental asylum, and takes up a job at a chemical plant. A fantasist and day dreamer; he's soon wooing sexy teenage beauty Sue Ann Stepanek (Tuesday Weld) by pretending to be a secret agent and filing her head with notions of covert CIA missions. She believes him and complies with his every whim, both carnal and probation skipping. But her apparent sexual awakening and craving for excitement soon lead to mayhem and murder, as the lines blur between manipulator and manipulated...
Pretty Poison is graced with an engagingly bright, witty script, and two fine performances from Perkins and Weld. Although typecast; Perkins imbues Pitt with a delightful boyish charm and whimsical naivety that's a joy to behold. Weld is equally brilliant (perhaps more so) as the decidedly deadly Sue Ann; a butter-wouldn't-melt minx who's happy to play along with Pitt until he's served his purpose. In support Beverly Garland also shines as Sue Ann's bitchy nemesis mother; the thorn in Pitt's side determined to split the pair up. This dynamic combined with snappy dialog, elevates what might seem like an unremarkable, dated, even predictable central premise; into something truly satisfying. The film manages to remain ambiguous regarding Sue Ann's true nature, whilst maintaining audience sympathy for Perkins' troubled character. Whats more there's a wry sense of irony concerning Pitt's evasive relationship with his compassionate probation officer (John Randolph) - the only one who gives two hoots about him. Perhaps best of all however is the film's ability to be both amusing and disturbing without meandering or becoming uneven. All in all a treat.
[EDIT] The previous post was split into two to allow Yoda to tag them at his discretion.
Pretty Poison (Noel Black, 1968)
Adapted by Lorenzo Semple Jnr. from Steven Geller's novel She Let Him Continue (and not to be confused with the 1996 TV movie of the same title); Pretty Poison is another overlooked cult gem with hidden depths, and a deliciously mean streak of blackly comic psychological horror.
Arsonist Dennis Pitt (Anthony Perkins who made a career of playing nut jobs) is released on probation from a mental asylum, and takes up a job at a chemical plant. A fantasist and day dreamer; he's soon wooing sexy teenage beauty Sue Ann Stepanek (Tuesday Weld) by pretending to be a secret agent and filing her head with notions of covert CIA missions. She believes him and complies with his every whim, both carnal and probation skipping. But her apparent sexual awakening and craving for excitement soon lead to mayhem and murder, as the lines blur between manipulator and manipulated...
Pretty Poison is graced with an engagingly bright, witty script, and two fine performances from Perkins and Weld. Although typecast; Perkins imbues Pitt with a delightful boyish charm and whimsical naivety that's a joy to behold. Weld is equally brilliant (perhaps more so) as the decidedly deadly Sue Ann; a butter-wouldn't-melt minx who's happy to play along with Pitt until he's served his purpose. In support Beverly Garland also shines as Sue Ann's bitchy nemesis mother; the thorn in Pitt's side determined to split the pair up. This dynamic combined with snappy dialog, elevates what might seem like an unremarkable, dated, even predictable central premise; into something truly satisfying. The film manages to remain ambiguous regarding Sue Ann's true nature, whilst maintaining audience sympathy for Perkins' troubled character. Whats more there's a wry sense of irony concerning Pitt's evasive relationship with his compassionate probation officer (John Randolph) - the only one who gives two hoots about him. Perhaps best of all however is the film's ability to be both amusing and disturbing without meandering or becoming uneven. All in all a treat.
[EDIT] The previous post was split into two to allow Yoda to tag them at his discretion.