As a seasoned critic with years of immersion in the world of cinema, I must admit that Anna Kendrick’s directorial debut, “Woman of the Hour,” has left me utterly captivated and deeply moved. The film’s exploration of systemic misogyny and the hidden monstrosity lurking within seemingly ordinary men is not only timely but also powerfully executed.
Anna Kendrick’s first directorial venture, titled “Woman of the Hour,” opens with a camera perspective. A woman is pictured on a barren hilltop under a striking blue sky, discussing her recent hardships with a photographer. Her boyfriend had left her not long after she learned she was pregnant. This individual presents a deeply complex and layered character. However, the male photographer, portrayed by Daniel Zovatto as the serial killer Rodney Alcala, views her merely as an object within his camera lens. These are the last photographs that will ever be taken of her.
Following this point, Ian McDonald’s script shifts to 1978 Los Angeles. In this setting, aspiring actress Cheryl Bradshaw (portrayed by Kendrick) finds herself in a tough spot, unable to secure any work. Matters have worsened to the extent that she reluctantly agrees to her agent’s proposition for an appearance on the TV show “The Dating Game”. Engaging in small talk with three unseen men is not Bradshaw’s preferred acting role. However, she is unaware that one of these hidden men is none other than Alcala, a serial killer responsible for numerous female deaths. The narrative structure of “Woman of the Hour” subtly weaves in accounts of some of these women’s stories amidst its non-linear tale.
Calling attention to Anna Kendrick, who joins the esteemed group of actors turning director with remarkable debuts alongside Stanley Tucci, Dev Patel, Regina King, and Drew Barrymore. Notably, Kendrick shines in her role for Woman of the Hour, demonstrating a sharp ability to portray tension. In collaboration with editor Andrew Canny, she skillfully reveals the unease and unspoken tension prevalent in numerous interactions between men and those belonging to underrepresented genders. Life often carries an inherent sense of danger, as if everything could erupt into chaos at any moment. Woman of the Hour masterfully captures this feeling on screen.
In addition to the main storyline about Bradshaw, the film also delves into other aspects of reality related to Alcala’s encounters with various individuals, particularly women, throughout his life. This narrative style is reminiscent of movies such as Zodiac, where the horrors of a serial killer are depicted through the eyes of their victims. In Woman of the Hour, these interruptions serve a dual purpose: they mimic commercial breaks that would have occurred during The Dating Game in the 1970s, and they reflect the way viewers wouldn’t have watched Cheryl Bradshaw’s appearance on the show without interruption.
In contrast to other McDonald’s commercial breaks, this script intentionally utilizes interludes to underscore the human aspect of victims traumatized by Alcala, rather than catering to advertisers. This storytelling technique is particularly significant in Woman of the Hour, reinforcing the humanity of lives tragically ended. Notably, this method is exceptionally relevant to the core narrative of the series. Moreover, the skillful use of cross-cutting across different time periods maintains an intense and suspenseful mood without diluting the impact. This effect is partly achieved by subtly highlighting the societal decay underlying each segment, suggesting a wide range of perspectives in Woman of the Hour. Each character portrayed (a woman and one man) inhabit a world filled with unsettling norms.
In a chilling manner, a ruthless serial killer manages to maintain friendly relationships with police officers. Regardless of the year, it seems that law enforcement fails repeatedly in apprehending Alcala. The disregard for women’s worth is pervasive, and even women themselves often participate in this devaluation. One woman casually remarks, “You know how teenage girls can be these days,” when discussing the safety of a young girl. This attitude that undermines women’s humanity and favors men is sadly commonplace in America. The various main females in this piece seldom interact, but only Cheryl and the ‘Dating Game’ audience member Laura (Nicolette Robinson) briefly exchange glances. Despite their isolation, they all inhabit a deeply fractured society. This recurring motif effectively fuels the growing tension.
The suspense in “Woman of the Hour” deepens as it delves into the secret bachelors, fueled by systemic misogyny. Among them, Alcala stands out for his thoughtfulness and understanding of women’s humanity. Bradshaw approvingly comments on him, saying “not bad, bachelor number three.” However, beneath a calm facade, there lies a potential killer with intense disdain for women. As a filmmaker and actor, Kendrick skillfully mines captivating themes from the various forms of dangerous men. To paraphrase a recent Atlantic headline, “not all men, but any man” can be problematic.
The beliefs shaping the lives of many women form a compelling backdrop in the series Woman of the Hour. Moreover, the film’s leading performances, featuring Kendrick as the protagonist Cheryl Bradshaw, are equally captivating. Kendrick skillfully balances her effervescent personality with her sharp wit, all while flashing a dazzling smile. These traits make Bradshaw an instantly engaging working-class character. Notably, Kendrick effectively uses this aspect of her acting when Bradshaw starts directing the questions she poses to her different suitors.
Demonstrating her acting prowess in films such as “Up in the Air” and “A Simple Favor”, it’s hardly necessary to acknowledge that Kendrick possesses exceptional talent as an actor. However, for those who may require persuasion, the undeniable fervor she embodies during Bradshaw’s most dramatic scenes (notably when she commands a menacing man to remove his hand from her car) should suffice. It’s truly remarkable to witness Kendrick seamlessly transition from a woman timidly deflecting her creepy roommate Terry’s (Pete Holmes) advances to boldly telling a man “I’m not going anywhere with you.” This versatility in her acting is undoubtedly convincing.
Daniel Zovatto delivers outstanding performance as Alcala, notably in portraying the character’s ever-changing personality. However, it’s Autumn Best who truly shines in this film. In her debut role, she convincingly portrays Amy, a runaway pursued by Alcala. A movie centered around Amy and her coin-stealing antics from laundromats would be captivating solely due to Best’s exceptional ability in dialogue-free acting.
Zach Kuperstein’s visual work is satisfactory overall, but some shots in the Cheryl Bradshaw sequences could benefit from a bit more space. This issue can partly be attributed to Canny’s editing, as the frequent cuts in these Hollywood-based scenes seem either too precise or lacking intentional roughness. For instance, think of Beyond the Valley of the Dolls, where the camera’s restlessness mirrors the drug-fueled energy of the characters. Sometimes, this deliberate lack of lingering is missing in Woman of the Hour‘s visual style. Fortunately, key scenes involving ordinary people meeting Alcala are much more precise in their editing and framing. It’s a shame that the entire film didn’t have these visual qualities.
Although it may not always feature vivid imagery, “Woman of the Hour” is a captivating thriller that skillfully generates tension through hostile male behavior. This ominous presence, much like the cautionary tales of Zards McGruff, can hide in various places such as offices, apartment buildings, or even live game shows watched by millions. The show’s keen awareness of this dehumanization’s prevalence not only feels authentic but also keeps you glued to the screen. Unlike some actor-turned-directors who struggle, Anna Kendrick has successfully avoided creating a debut film on par with “Fool’s Paradise.
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2024-10-12 02:18