WHEN A STRANGER CALLS

US, 1979, 97 minutes, Colour.
Carol Kane, Colleen Dewhurst, Charles Durning, Tony Beckley, Rachel Roberts.
Directed by Fred Walton.

When a Stranger Calls: Most audiences like a good scare - this one is not bad, but one might have expected more from the babysitter/madman confrontation. There are some shocks, some suspense and a final fright. However, there are few explanations, motives and no twists of plot. Charles Durning is a relentless detective, hired for private justice/revenge. Carol Kane is the tormented babysitter. Both are good as is Colleen Dewhurst as a woman-about-town. Tony Beckley goes through the motions of an insane killer - asking for some sympathy, but ultimately neither getting nor made to merit any. A first film by Fred Alton (written and directed), it is more an exercise in scary cinematics.

1. The appeal of the thriller - scares, shocks, horror? Audience identification with the situations? A feminine audience identifying with the mother, the babysitter? The nightmare effect - and the shadow side of personality? The effect of experiencing this kind of frightening film?

2. The conventions for such nightmare films - trick photography, tricks of attention, distractions? The creation of atmosphere, suspense? The highly contrived screenplay and the audience accepting this and waiting for the scares? The build up to a dramatic finale? Audience expectation of some kind of twist at the end and there not being one?

3. How plausible was the plot? The contrived situation for the scares - presented credibly? The babysitting situation? The madman on the loose and his escape? The madman's capacity for being inside the house? The finale and its horror? Sufficient explanation of character, motivation? Or not?

4. The initial situation and the couple getting ready to go out, Jill and her babysitting, the phone? Jill and the tension - and the revelation that the madman was inside the house? The savagery of the killings? The effect on Jill, on the family - grief and revenge?

5. The introduction to Jill and audience identification with her - study, her boyfriend, the phone and the growing number of calls? The camera devices to highlight the insistence of the phone calls? The ominous words, the scares? The locking of the house? The warning about the children - and Jill's not looking? The discussions with the police? The passing of time and the clocks? The revelation that the killer was inside - Jill's attempt to escape and his opening the door, the shock arrival of the detective?

6. The transition of the years and audiences anticipating more horror? The conviction of Duncan and his imprisonment? The pros and cons of psychiatric care, the nature of detention for such killers? The possibility of the repetition of their crimes? The need for greater security? The stance taken by the film?

7. Clifford and his work as a detective, his being hired by the father to avenge his children? His presence on the case, his going into private work? His skill in investigating, the ugliness of his plan to execute Duncan? His deal with his police friends? His visit to the psychiatrist and the discussion about the madman, the revelation of his character, the listening to the tapes, the possibility of repetition? The stances taken in the discussion with the psychiatrist? His tracking down Duncan's presence, the bar, the discussions with Tracy and getting her to help? Tracking down Duncan to the shelter. the chase and Duncan's skill in eluding pursuit? The phone call to Jill? Clifford's arrival at the right moment and the execution of Duncan? How well drawn the character?

8. Duncan and his being seen only after the murders and his psychiatric treatment and escape? Audiences expecting a twist as regards the identity of the killer? Audience response to Duncan - any sympathy? His presence in the bar, his derelict look, the approach to Tracy, the fight and bashing? His following her, proposing to her? His return? His being inside the house and frightening her? The pursuit by Clifford and his escape? His continued going to the shelter - and his being in bed and the chase through the shelter? The build up to his being inside Jill's house, the fright of his being in bed? His death? Any sympathy for him?

9. Tracy as a type, her presence in the bar, the fight, the long walk home, Duncan's pursuing her, his return? Her deal with Clifford? Her fright in the house?

10. Jill and her marriage, the children, the babysitting situation and audience expecting a repetition? The meal, the phone call and Duncan's voice, the police, Jill's hysteria and return home? The quiet in the house, her husband's reassurance about the light sleeping, her looking at the children, the discovery of the sweet, the phone not working. the sudden emergence of Duncan? The happy ending for Jill?

11. The characters and the lack of explanation of background, motivation? Unexplained evil and its attack? Society, victims? The film working on the level of popular thriller?