The Naked Face

Bryan Forbes ("The Stepford Wives" '75) directed this adaptation of a Sidney Sheldon novel in addition to writing it for the screen. Sir Roger Moore tackles a change of pace role, playing Dr. Judd Stevens, a Chicago psychiatrist. One of his patients is murdered for no apparent reason, and his secretary is horribly tortured before being killed. Lt. McGreary (Rod Steiger) is a volatile police detective, bearing a grudge against Stevens, who's very quick to consider the doctor a prime suspect. The story then unfolds as one would expect it to, as Dr. Stevens must evade attempts on his life while trying to prove his innocence and keep McGreary out of his hair.

"The Naked Face" really isn't deserving of some of the talent here. Made on the cheap by the Cannon Group (basically because some of their other product during this time had under performed at the box office), it adequately entertains without being remarkable in any way. Viewers may feel underwhelmed by the twists that the story provides, and the climactic reveal and confrontation fail to be that satisfying. Editing, photography, and pacing are all reasonably well done, although that music score by Michael J. Lewis is awfully melodramatic. The last second shock ending is quite annoying.

Moore is okay, no more, as our somewhat reserved main character, while Steiger is given yet another opportunity to rip the scenery to shreds. Elliott Gould is actually good as McGreary's partner Angeli. Lovely Anne Archer is appealing as always in her small role as one of the patients. David Hedison lends solid support as Stevens's good friend (and brother-in-law) Dr. Peter Hadley. The main attraction, however, is Art Carney in a likable turn as a sly private detective. The film gets just a little bit better when he turns up.

Fans of these actors and this genre may enjoy this one. At least it delivers one memorable sequence involving one of the attempts to kill off Stevens.

Six out of 10.

Roger Moore ("Dr. Stevens") is quite effective in this murder-mystery as an eminent psychiatrist who finds himself at the centre of a police investigation into the killing of his assistant and of one of his patients. Desperate to prove his innocence to police lieutenant "McGreavy" (Rod Steiger) and his sidekick "Angeli" (Elliott Gould), he must work out what exactly is going on. Is he the real target? Why? Who? Despite the efforts of a good cast, the writing is a bit lacklustre and it's fairly easy to spot who's pulling the strings - or, at least, who is helping the puppet master fairly early on, thereby robbing the plot of much jeopardy. As to the "why" element of the story, that proves to be really quite contrived, and in best Agatha Christie traditions there are too many new elements introduced near the end for us to have much of a go at playing detective ourselves on that front. It is entertaining to see these old pros on screen together, and that raises the standard somewhat - but basically, it's just a rather light-weight gangster film that you'll forget very quickly.

Roger Moore is in uncharacteristic surroundings here, in a very adult thriller. He plays a Chicago psychiatrist who tops the polic's suspect list when a number of people start getting bumped off in the city. You see, all those that are dead are patients at his clinic. As suspicion mounts, Moore does the only thing he can and takes the investigation into his own hands, hoping to clear his name by catching the real killer(s) himself.

Also involved in the film are Rod Steiger and Elliot Gould, both giving enjoyable performances as cops investigating the crimes. The story takes its inspiration from a Sidney Sheldon bestseller, and unfolds fairly intriguingly with various red herrings and killings tossed into the mix at regular intervals. However, the film isn't perfect by a long stretch of the imagination. For a start, the peculiar assassination at the end is supposed to be a twist of some sort, but it makes little sense. Also, the solution to the murders isn't that great (in fact, it's been six years since I saw the film and I can't remember exactly how it all gets resolved). Nonetheless, the film is probably worth a look, especially if you've never seen Moore in one of his more unstereotypical roles.

Moore plays a psychiatrist caught in a web of intrigue and murder, as his patients become victims of a sinister plot. Steiger and Gould play a pair of detectives assigned to the case, but their disdain for Moore affects little progress in solving the case, and he turns to wily amateur sleuth Carney, to solve the mystery before he becomes the next victim. Generally well constructed thriller, with occasional brutal, graphic and somewhat gratuitous violence that might offend. The scene in which Moore's office is ransacked is especially cold and callous in its excess.

Some neat twists are employed by actor-turned-director Forbes, with solid performances from Moore, Steiger and Gould in particular. Moore's normally nonchalant persona is replaced here with suitable concern, as he's pursued by sadistic villains with little inclination for mercy. The executions are particularly nasty and the tone is never far from dark and threatening. In some ways, "The Naked Face" is similar in vein to both "Still of the Night" and "Colour of Night" in terms of its content, and has a render reminiscent of a Brian De Palma thriller (though it lacks De Palma's signature styling).

Despite the sophisticated elements, the dialogue is only functional and at one hour and forty-five minutes, the film does overstay its welcome. Worth a look, but nothing spectacular.

Moore knew he was living on borrowed time so far as Bond was concerned. Way too old, too slow moving and paunchy to be carrying a Walther PPK for much longer. His Bond contract allowed him to make two other films during this period - post OCTOPUSSY and pre A VIEW TO A KILL (that was to be his last JB outing)

Wisely perhaps, he chose this role as mild-mannered but wholly professional Chicago psychiatrist Dr Judd Stevens, whose life hits a major rut after one of his patients is stabbed to death - wearing HIS coat. Having no idea what is going on for pretty much the entire movie Moore conveys Judd's plight rather well I thought. As unlike anything Moore has ever done, he must deal with finding himself simply in the wrong place for seemingly no reason.

Several things to like about this flick - IF you care to look. Art Carney's turn as burnt-out but still cluey PI Morgens is a real gem of a performance. When Moore admits he doesn't believe in guns, Carney counters, "Yeah, well I don't believe in Santa Claus, but each Christmas he still comes round." The brief scenes in his ramshackle office are really worth looking at closely.

Cop Steiger is a tad over the top as is his wont - give him any opportunity to rave - he's in actor's heaven. Ron Paradi as mob boss Cortini puts across one of the nastiest and inherently evil men you would ever wish to not meet and Anne Archer is well....Anne Archer.

Totally unexpected last 20 seconds really lifts the film I thought.