Así no se trata a una dama

Watching serial killer Christopher Gill (Rod Steiger) trying to enlist the trust of his prospective victims is what makes this film really interesting. Once these babes in the Manhattan woods let down their guard, then ... pounce. And like some deep-sea predator that changes its color or its shape to suit the needs of its prey, Gill changes his disguise from Irish priest to plumber to eccentric hair stylist to waiter, to suit the needs and desires of his selected middle aged female targets.

Gill is a loner, but he still needs human contact. So, between killings, he engages in a phone dialogue with detective Morris Brummel (played well by George Segal). Gill also checks the newspapers frequently, to verify that his killings get noticed by the police and by society in general. The film is thus a character study of a fictional psychopath. But the characterization is consistent with expert profiling of the generalized needs and motivations of real life serial killers.

Indeed, some researchers have speculated that the infamous Zodiac killer "may" have studied this film. In some ways, Gill's modus operandi is similar to that of the Zodiac who was known to be a movie buff. Further, the killings in the San Francisco Bay Area premiered just a couple of years after this film came out.

Quite aside from its possible historical significance, the film is very well made. It conveys a well-written script, good cinematography, attention to detail in costumes and production design, effective pacing and editing. The background music at the film's beginning and end is beautifully haunting, and lends a tone of sadness, and therefore emotional depth, to the story. And, of course, Steiger's performance is so good that it alone makes the film worth watching. The only downside is Morris Brummel's nagging mother who quickly becomes grating and irritating.

That this film has been largely forgotten is unfortunate. But it is available on DVD, and therefore can be seen by anyone who appreciates good movies.

Coming hot off the heels of his Oscar winning role in 1967's "In the Heat of the Night" Steiger gives an acting tour-de-force in this tale of a demented serial killer tormenting a police officer. Steiger pulls out all the plugs as he slips into the persona of a Catholic priest, German plumber, simpering hair stylist...and all with great flare and comic over tones. Segal and Remick provide the love interest in a rather kooky way, and it all makes for great fun, in a serial killer movie!..Gotta see it!

There have been many serial killer films over the years but this was one of the earliest and one of the best. It manages to be witty, suspenseful, funny and shocking in separate portions. Rod Steiger is very good in a role made for him but George Segal takes the acting honours because it's a much harder role and he does it so well. Lee Remick is fine also.

The best scene is the opening pre-credit sequence. It may look rather mundane at first but.....

Rod Steiger plays a psycho who likes to strangle women to death. George Segal plays a Jewish cop after him. Lovely, young Lee Remick plays Segal's love interest. Unfortunately Steiger is interested in her too.

Very odd movie. The dialogue is crisp, sharp and handled expertly by the cast. It just sounds different--I mean this in a good way. Steiger chews the scenery again & again & again & AGAIN as the killer. Segal is just fine, but he (understandably) pales next to Steiger. Remick is astonishingly beautiful and having a whale of a time in her role. Also Eileen Heckart is a scream as Segal's very Jewish mother. The sequence between her and Remick is a definite highlight.

All in all, a strange, but enjoyable, mix of suspense, humor and romance. Not for everybody but worth a look.

Only debit--more than a few homophobic comments are thrown about as jokes. But then this was made in 1968.

I turned this gem of a film on one afternoon having no idea what it was about. The opening scenes with Rod Steiger as an Irish priest calling on unsuspecting, soon-to-be victim Marline Bartlett was truly startling in its viciousness. Why have I never heard of this movie before and why has it been shelved all these years? This movie is definitely a cut above the rest in the genre of thrillers featuring serial killers. Rod Steiger is brilliant in a tour-de-force as he assumes various identities-- i.e., an Irish Priest, plumber and effeminate hair stylist--as a psycho on the loose who targets middle aged women and whose calling card is to draw a pair of lips in red lipstick on each victim's forehead. Steiger is pitted against underdog detective George Segal, who plays an overworked cop who gets no recognition for his work. Lee Remick plays the love interest who adds spice to the movie and supporting actress Eileen Heckart plays detective Segal's overbearing mother who bureates him for being a cop (and Jewish) every opportunity she gets. Heckart as the overbearing stereotypical Jewish mama is annoying, to say the least. Remick's character is a free spirit who gives museum tours and she is HIP! In fact, her dialogue suffers in part from an effort to be *too hip* and contemporary: in one scene she tells Segal, "I swinged, and I swang until I swung", in explaining a previous relationship. The most interesting victim plays a drag queen in a bar who is scorned by the other bar patrons and met with homophobic comments, but this was, after all 1968. All the acting is good, though the best scenes are those involving Steiger and his unsuspecting victims. One slight flaw is that the idea that the police department could control what the media prints and use it to manipulate the killer is a little too contrived, and the movie's ending is mediocre, doesn't satisfy and wraps it up too quickly. The scene involving Remick and Steiger is also contrived, and it's a little inconsistent with Remick's character that she would let a total stranger into her apartment, especially since she's dating a cop.

In spite of the mediocre ending, this is an excellent movie.