Eastwood was not an actor who was going to be content toiling away in bit parts of B movies or as the star of a weekly television series, nor was he going to be content to simply remain a leading man when that success finally found him. He wanted to direct and with this film, he got the chance. Fortunately, the project was one that had potential for commercial success, being that it deals with suspense and sexual relationships, but his heretofore-untapped artfulness didn't hurt either. He plays a Carmel, California disc jockey who regularly hears from a female caller requesting to hear "Misty," a romantic standard. One evening, he meets the female caller (Walter) by "chance" and indulges in a no strings attached sexual liaison even though he's trying to work things out with his estranged girlfriend Mills. Before he knows it, Walter has attached herself to him like a barnacle and he can't get rid of her. This kicks off a series of disturbing events that include interference with his career, vandalism and even assault. No one seems to be able to contain Walter from her evil-doings and, in time, Eastwood ceases to be her only target. Eastwood does a decent enough job acting-wise, though he is not particularly suited to the part he's playing. His coup here is in helming his first motion picture with style and skill. Walter is a revelation. She has many moments involving quick changes from flirtatiousness to fury and handles them expertly. Some of her outbursts are hilariously inappropriate such as when she tells one of Eastwood's neighbors to "go screw yourself" or exclaims that Hervey, the mature business associate of Eastwood's "couldn't get laid in a lumber camp!" It's an electrifying, scary performance that made it a little difficult to completely trust her in later portrayals! Mills role is almost completely decorative, but she was a good one to pick in that department. Eastwood did make good use of her beautiful eyes, especially in one revelatory moment. Larch adds some nice texture to his role of police detective, McEachin plays a doobie-loving fellow DJ and Taylor has some fun as Eastwood's mouthy housekeeper. Frequent Eastwood director Siegel has a small role as a chummy bartender. The film's location is another character, with the shoreline of Carmel being paid striking tribute throughout. Two sequences have, at times, been accused of slowing down the pace. One is a love montage between Mills and Eastwood set to the song "The First Time Ever I Saw Your Face." This is actually, though lengthy, a very evocative and well-handled sequence and a necessary one in establishing the relationship of the couple. The other is a digression to the annual Monterrey Pop Festival. This one, while an interesting time capsule of the moment, does slow down the momentum and is too taste-specific and distracting to be as long as it is, serving very little purpose dramatically. The once startling and fearsome plot devices of this film were later ripped off quite heavily in the bigger budgeted "Fatal Attraction" (as well as in various TV shows and other movies.) Glenn Close was also quite amazing in that film, but Walter certainly paved the way with her eye-opening work here. Thankfully, Walter chose to call in and request "Misty" or the film might have been titled, "Play The First Time Ever I Saw Your Face for Me!"
Review of Play Misty for Me
