Tu ne m'oublieras pas

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.

You need not have to wade through any over-intellectualized reviews of this film! Breaking it down into basics: (1) it is a low-budget indie; (2)you can figure it out by at least midway through for those with above a lukewarm IQ; (3) some very wasted time; (4) not quite as satisfying as it could have/should have been, since the predator who is really a victim is completely unsympathetic Skip it unless you really enjoy slogging through old B&W B-movies which offer little more than simple revenge as character motivation.

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.

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.

This startling movie shows how an abrasive character can be created by simply not using the words please or thank you.

Geraldine Chaplin as Emily interacts with nearly every other character in the story like metal striking flint, she creates sparks by just entering the scene.

It takes a while to understand why she is intruding into the lives of married couple Neil and Barbara Curry (Anthony Perkins and Berry Berenson). But the story eventually comes to light and we realise Emily had an agenda all along.

The casting is against type. Just look at the films Tony Perkins made before and after "Remember My Name", where nearly all the characters he played could trace their roots back to Norman Bates. Here it's Geraldine Chaplin's Emily who is the character on the edge. She is the one with a touch of the Norman B's. Even though there is little violence, this film keeps the tension ramped up, much of it because of our expectations.

The film is discussed in a good biography by Ronald Bergan, "Anthony Perkins: A Haunted Star". He tells how Berry Berenson, Perkins real life wife, got the part of his wife in the movie when she inadvertently arrived with their children in producer Robert Altman's office. Altman asked her to play the part impressed with her natural qualities although she had never acted in a film.

Bergan's biography, which covers the conflicts in Perkins life, also tells how happy he and Berenson were before illness overwhelmed him. The book was published in 1995, before Berry lost her life in one of the planes on 9/11. At least Anthony Perkins was spared that knowledge.

"Remember My Name" is unique, with a soundtrack of songs by Alberta Hunter that acts like a strolling minstrel following the protagonists with tracks such as "You Reap Just What You Sow".

If you haven't seen it, "Remember My Name" makes for a brilliant discovery.