Well now, why put up a review to recommend this notorious / classic clunker?
Because, despite being amateurishly stupid, actually, if you're a cinema aficionado, there's several aspects to note, even - (almost!) - ah, 'appreciate' in this:
First is that if you are able to come at this without knowing the plot / any advance 'review' knowledge - as I innocently did - what starts out as a seemingly cinematic useless, routine, even quite misogynistic reprehensible guys stalk innocent female, has an, er, significant shift in focus half way through that is quite completely unexpectedly, unpredictably (on first viewing) jarring.
To be fair / honest, it's delayed, 'jump' timing is quite effective to be equivalent to a sort of 'oh, I didn't see that coming' twist (which I didn't, had not read up on it beforehand - you should try not, to, to 'enjoy'..):
Of course, those that want to find out, now know that this was not quite intentional, but an in hindsight quite serendipitous, rather brilliant left field desperation / inspired move to give this film quite some chutzpah.
Since, after which, it becomes remarkable how prescient it was to all those recent, but thus oh so much later, faux, human, useless superhero type genre entries that frequently came out just a few years back, as like 'Kick Ass'*, 'Scott Pilgrim', 'The Defendor' and the like.
* Just merely coincidentally lead player, indy director, writer, editor, no doubt, tea maker, Ray Dennis Steckler, even has Nick Cage look about him, too.
Thereafter, e.g. If you're a US fifties / early sixties car fan, you'll get plenty of shots of such genuine sidewalk parked cars as the 'heroes' careen about the Hollywood hills of those days in a sorta guerilla, dogme, filmmaking way that would be all but impossibly illegal today.
Then, on that way, film buffs can have fun with the surely deliberate to be amusing, if not stupidly careless ineptness on display again, chase vehicle continuity. (I saw as deliberate amusingly.)
Plus in the incongruously linked first half you'll also get another seemingly misogynist trope: or is that actually mere admiration of the feminine form with a long - long - menacing stalk of the main female star - (Carolyn Brandt as a Cee cee Beaumont) - in such behind-quarters lasciviousness, that if it wasn't that it is of the director's own then wife, would come across as creepy voyeurism, but here, is rather - presumably - in sort of adolescent like admiration of. Well - (plot spoiler alert ...!) - at least the menacing stalker eventually merely hangs about, sorta harmlessly - despite still 'menacingly' constantly testing his switchblade. Then he goes off. (Guess, director hubby once again ran out of inspiration...)
There's also another set of weirdness occurring (directed?) in an apparently in reality just stumbled across deserted half built / abandoned house that is also reminiscent of that which would not be out of place as location of some of those latterly, recently seen in the kidnapped gal / zombie genres. [á la, try 'All the girls love Alice'; 'Wasteland', etc.]
Then finally, those that know the end, know that director Steckler finally takes it into surely deliberate utter absurdity: but, if you don't know, then stay patient 'til it to see presented another sort of prescient aspect, in a sort of 'inclusive' lifestyles presentation (homosexuality and bestiality anyone ... or, is it ... something else / 'weird' entirely?)
Superb fun to be had in relishing its heartfelt oddities, yet still sheer ineptitude dressed up as filmmaking.
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