NO WAY TO TREAT A LADY

US, 1967, 108 minutes, Colour,
Rod Steiger, George Segal, Lee Remick, Eileen Heckhart, Murray Hamilton, Michael Dunn, Ruth White, Barbara Baxley.
Directed by Jack Smight.

No Way To Treat A Lady 1s a minor classic of macabre comedy. Taking a social phenomenon of crime in the United States, the multiple killer, it uses it to make a satisfying and not distasteful blend of comedy and thriller. More intelligence has gone into making the film than usual and this probably accounts for its success.

Although the film 1s a showcase for Rod Steiger's talent at a variety of roles, he brings into each impersonation or change of voice, much feeling and an invitation to wonder about the personality of the man he is portraying. Then the screenplay contrasts him well with the mother-hen-pecked detective Maurice Brummell.

Finally, the comedy melodrama borders on the tragic in Christopher Mill's death and the theme of forgiveness and expiation.

Rod Steiger is a pleasure to watch in a display of versatility. George Segal, who has quietly enhanced many important films, contrasts effectively with Steiger. Lee Remick provides more than decoration and Eileen Heckhart gives a devastating impersonation of a Jewish mother.

Jack Smight next directed Steiger in The Illustrated Man.

1. Was this a comedy, a thriller or both? Why?

2. What impression did Rod Steiger immediately make as the jovial Irish priest? Was his murdering of his hostess surprising, macabre, off-putting? How ironic was it? entertaining?

3. Haw much did the film's success depend on the virtuoso performance of Rod Steiger? How good a performance was it? How well written were some of these minor disguises and how memorable were they (although brief)? Was the role made more plausible by hie being an actor with a wardrobe at his disposal? Did this seem to help the film to be more realistic despite its improbable plot? How?

4. What motivated him as a murderer? What was the influence and driving force of his mother? How effective were the lipstick lips as a garish symbol of this love-hate?

5. How well did the screenplay contrast Christopher Mills with Maurice Brummell? Did George Segal's subdued performance as a comic provide the right foil? How did the living Mrs Brummell offer an 'objective correlative' for the dead Mrs, Mills?

6. "Momism" is a common theme in American films. What comment on "Momism" did the film make?

7. What picture of the New York police did the film give? What impression of violence? Was this theme of urban violence to the fore ?

8. What did the film show of the intricacies of paranoia and the insane mind, the vanity and the self confidence of Christopher Mills' disguises, getting the women into his confidence, challenging the police, deciding who was to conduct the investigation?

9. How did he relate to Mo Brummell?

10. How was Mo Brummell humanised by his love for the girl? (Did the film use the conventional love interest for the benefit of the plot? How?) How did she contrast with Mrs Brummell? How humorous was her playing up to Mrs Brummell? ("You remind me of me.") Why did she love Mo?

11. How well done was the finale? Was it too melodramatic? Too serious? What did it show of the nature of guilt, of need for expiation? (How effective was the quotation from Doctor Faustus?)

12. How important Was the theme of forgiveness? Why did Mills ask for forgiveness? Why did Mo forgive him? How important were pity, compassion, understanding?