Du wirst noch an mich denken

Frequently the maker of intriguing films (The Moderns, Equinox, Trouble In Mind) and protégé of the great Robert Altman (who produces here), writer-director Alan Rudolph's 1978 film also fits this mould. Here, we have showcased a stunning central performance by Geraldine Chaplin (the actress also a regular Altman collaborator) as the enigmatic, volatile Emily, seemingly returning from we know not where (prison?) and set on disrupting the life of Anthony Perkins' construction worker, Neil Curry, and his wife Berry Berenson's Barbara. Rudolph sets up his film as an effective mystery/thriller - albeit in his customary offbeat style - keeping us guessing as to the stalking Emily's intents, motives and history, creating a mood and unsettling presence, at times reminiscent of something like Michael Haneke's Hidden. The personal malaise obviously being suffered by Emily is also broadened out to encompass feelings of greater societal paranoia (post-Vietnam and Watergate?), alluded to via the film's running TV commentary, referencing (of all things) a Budapest earthquake.

Rudolph's cast is consistently impressive, Perkins attempting to maintain calm in the face of Emily's increasingly prominent and disruptive presence, Berenson convincing as the wife asking the increasingly urgent questions, whilst Moses Gunn is probably the most sympathetic character here with his well-meaning landlord to Emily, Pike, who has genuine concern for Emily's state of mind. It is this state of mind on which Rudolph focuses our attention, with Chaplin quite superb, whether flirting romantically to Alan Autry's fellow worker, Rusty, creeping silently deadpan and undetected around the Curry household, or exacting (sometimes violent) retribution against (a young, lanky) Jeff Goldblum's store manager, Mr Nudd, or Alfre Woodward's shop worker, Rita. As is often the case with Rudolph I've found, the payoff may not fully justify the impressive, here slow, scene setting and build-up. This rather proves (again) to be the case with Remember My Name - the journey is worth catching, nevertheless.

An interesting and well-acted psychological drama about an unhappily married man (Perkins) who finds himself stalked by his first wife (Chaplin), a mentally unbalanced woman who spent the last 12 years in prison for murder. You've seen this kind of insane-female-admirer plot before, but here it's handled more intelligently and tastefully than usual. It remains refreshingly unpredictable all the way through.

Chaplin is particularly impressive, managing to exude fragility, menace, and just plain craziness all at once. It's a solid performance if you're willing to overlook her ever-changing accent (is her character supposed to be American or English?). The film also features an overbearing blues soundtrack that, while decent enough in itself, sounds like it belongs in another film. Still, it's a good movie, probably worth viewing more than once.

Geraldine Chaplin's character has been in prison for years. She murdered her husband's (Tony Perkins') lover. She leaves prison institutionalized and inept and full of vengeance. She begin to stalk the ex- and his wife, damaging property and actually invading the home and confronting her. Of course, she has reason for anger in the most unbalanced of ways. Geraldine Chaplin does a great job in what is mostly a plodding film. We have to feel sorry for her in a way because she has been robbed of the tools to integrate into society and, instead, keeps the tunnel vision going. Perkins is, as usual, pretty weird, and still seems to have some feelings toward here. It's an intense, uncomfortable film, with a very good soundtrack.

After carving out eccentric, obtuse molds for her personality while co-starring in Robert Altman's "Nashville" and Alan Rudolph's "Welcome to L.A.", Geraldine Chaplin finally earned a full-bodied (though still utterly eccentric) leading role in Rudolph's "Remember My Name", which was produced by Robert Altman. Chaplin plays an ex-convict and sociopath seeking a reunion with her former husband, a carpenter who has remarried and resides on the west coast; lacking interpersonal skills of any kind, she decides to get his attention by stalking he and his wife and breaking into their house. Intriguing, if unpleasant, modern-day melodrama with noir-ish overtures, made memorable by Chaplin's high-wire performance. Tough and unyielding, and possibly schizophrenic, Chaplin creates a portrait of a woman obsessed by the past, and wilting under the untouchable persona she has created for herself. The narrative goes a little batty in the final stretch, leading to a perplexing conclusion; however, the film's detached tone is very deliberate and assured--it creates a monotone ambiance which is hard to shake off. Director Rudolph, who also wrote the screenplay, seems to feel this material very deeply. It's a twisted and melancholy valentine. **1/2 from ****

Geraldine Chaplin was so believable. It made such an impact on me that I can still remember it. Especially wonderful for me was the background music and singing of Alberta Hunter. It was not a movie of violent revenge. It was sweet revenge. Sure, it would be called stalking today, but she was just checking out that ratty ex-husband.