Troubled middle-aged spinster Aggie (a fine and affecting performance by Deborah Ashira) lives in isolation with her disabled wheelchair-bound companion Richard (a solid portrayal by Patrick L. Farrelly). While attempting to remember the exact circumstances pertaining to how she and Richard first met, Aggie slowly, but surely pieces together a true portrait of who and what she really is.
Director Gerard Damiano relates the absorbing sad story at a deliberate pace, ably crafts a haunting melancholy mood, and maintains a grim brooding tone throughout. Kim Pope, Mary Stuart, and Darby Lloyd Rains are all excellent as various wildly contrasting incarnations of Aggie. Eric Edwards and Harry Reems are likewise very good as younger versions of Richard. Ron Wertheim's dark and daring script gradually peels away the layers of Aggie's disturbed psyche before culminating in a startling surprise downbeat ending as well as says something poignant and significant about the basic human need for companionship. The handsome cinematography by Joao Fernandes and the moody score by Rupert Holmes both further enhance the overall sound quality of this odd, yet highly effective and admirable 70's Golden Age winner.
Director Gerard Damiano relates the absorbing sad story at a deliberate pace, ably crafts a haunting melancholy mood, and maintains a grim brooding tone throughout. Kim Pope, Mary Stuart, and Darby Lloyd Rains are all excellent as various wildly contrasting incarnations of Aggie. Eric Edwards and Harry Reems are likewise very good as younger versions of Richard. Ron Wertheim's dark and daring script gradually peels away the layers of Aggie's disturbed psyche before culminating in a startling surprise downbeat ending as well as says something poignant and significant about the basic human need for companionship. The handsome cinematography by Joao Fernandes and the moody score by Rupert Holmes both further enhance the overall sound quality of this odd, yet highly effective and admirable 70's Golden Age winner.