PROFILE FOR MURDER
Canada, 1997, 95 minutes, Colour.
Lance Henrickson, Joan Severence, Jeff Wincott, Ryan Michael.
Directed by David Winning.
Profile for Murder is a by-the-numbers sex murder mystery. It is a Canadian production, from David Winning, a prolific director of film and television in Canada. It stars Lance Henrickson in an offbeat role as a wealthy businessman who is suspected of serial murders. Joan Severence, who has appeared in a number of dramas which depend on sex and melodrama, is a psychologist who gets involved with Henrickson. Jeff Wincott and Ryan Michael play detectives who are in love with the psychologist.
The film has its graphic moments in presenting the victims and the sexual encounters with the businessman. However, there is a final twist at the end which seems rather unbelievable but at least gives some kind of difference to the routine aspects of the plot.
1.Popular kind of murder mystery? The appeal in terms of characters, plot, steaminess, twists?
2.The Seattle settings, the city, the wealthy background, apartments and parties? The police precinct? Authentic? Musical score?
3.The title, the focus on Hanna and her work, the serial killer, the detectives?
4.Adrian Cross, a sleazy type, his legal background, his business success? The parties, his picking up women, the sexual encounters, his diary? Being under suspicion, arrested, the detectives and police treatment of him? Hanna and the interviews, his taking control, leading the discussions? The effect on Hanna? His being released? The suspicions, the confrontation with Hanna? The explosion, his seeming death? The irony that he was not the killer? Sending the poetry to Hanna?
5.Hanna, her background, competence? The failure of her marriage, the relationship with Andy, the tensions? Being employed by Michael? The visits, her being off-guard with Cross? The discussions? At home, listening to the interviews on tape, her sexual imagination? Her wanting to go off the case? The further discussions with Cross? His inviting her to the benefit, his large donation? The seduction, on the boat? The poetry? The diary? The irony of his not being the killer? The confrontation in the room, Michael and Andy? Her future - and the book of poetry?
6.The detectives: Andy, the relationship with Hanna, his suspicions of Cross, his treatment of him? Michael, in charge, his love for Hanna? Their discussions? Andy and his going to the victim’s mother, finding out more information?
7.The final confrontation, the irony that Michael was the killer – believable or not? His reasons, rivalry with Cross at university, with women? The confrontation and his death?
8.The film as a murder mystery, sexual melodrama – with the touch of the potboiler?
