L'impasse sanglante

"Perfect Strangers" is a thought-provoking thriller that delves into the complexities of human relationships and societal norms. The film tells the story of Johnny, a mafia hitman, who befriends a single mother, Sally, in order to get close to her two-year-old son, who witnessed one of Johnny's hits.

Larry Cohen's direction is impressive, as he weaves together a complex narrative that explores themes of identity, morality, and the blurred lines between right and wrong. The film's use of New York City as a backdrop adds to the gritty realism, and Cohen's ability to capture the city's energy is commendable.

The cast delivers solid performances, with Brad Rijn shining as the charismatic but troubled Johnny. Anne Carlisle brings a sense of vulnerability and determination to the role of Sally, making her a relatable and rootable character.

One of the standout aspects of "Perfect Strangers" is its ability to balance thriller elements with social commentary. Cohen tackles themes such as feminism, identity, and the objectification of women, adding depth and complexity to the narrative.

While the film's premise may seem ridiculous at times, Cohen's direction and the cast's performances make it work. The film's pacing is well-balanced, and the tension builds slowly, keeping the viewer engaged.

Overall, "Perfect Strangers" is a unique blend of thriller and social commentary that will keep you on the edge of your seat. With its complex characters, gritty realism, and thought-provoking themes, it's a must-watch for fans of Larry Cohen and those looking for a film that will challenge their perspectives.

Apparently, this and Special Effects were shot back to back in 1983/84 as part of a package low-budget deal with Hemdale Films, and Cohen looked at Blind Alley as the "less complicated" one of the two (and hey, what says in-complicated like trying to direct a baby, right? By his account the baby Matthew did what he was told for the most part with help from his parents, and to Cohen's credit he's a great Baby Actor if that's a term I can throw, oh hey it's my review so I just did). The general impression on the whole from this one - which I like just slightly more than Special Effects) - is that it feels like Cohen in both the script and execution is making this like a Poverty Row director might in the 1940s, only updated for gratuitous nudity and occasionallu more brutal violence.

This is both to the benefit and detriment in the final product. I get that the film is about this baby who sees a killing, and even matches eyes with Johnny the killer (the actor Brad Rijn carries a certain intensity that works overall, a highlight being when he explains in his way of "comparative analysis" to Matthew via magazine how his predicament is not unlike... Elliot in ET, and it makes me smile to think of Larry Cohen watching ET like everyone else in the world, but I digress), and that Johnny is so pathological about pleasing his underworld boss that he'll stop at nothing to make sure the baby doesn't uh squeal or rattle or what have you, but... He's a baby. Cute one, but still not quite exactly able to pick a guy out of a line-up.

And the extent to which he ends up going to to shut a tyke up who can't even form words past Mom and No is kind of ridiculous. Moreover, Johnny is a pretty stupid and (connected with the Cohen ouvrere) violent and crazy, but by a certain point it's also the mom's fault for not seeing his other motives (Anne Carlisle, who actually does quite well with what she's given, most of all that intense real-crowd filmed set piece in the Soho streets with mom's baby daddy).

On the other hand, I like that only a story with such a nutty premise and execution, including a cast of supporting women friends of the Mom who make this a semi-sorta commentary on Feminist action against scumbag men (which in Cohen's world is almost a redundant statement) could come from such a mind and cinematic personality as his. It doesn't all work and sometimes drags, like with a police detective working the murder case who gets saddled with some clunky lines that only leads to a predictable (if dark) point, but Cohen, when he and his DP aren't using that high contrast or glaze or whatever it is on the lens to make exterior day scenes too bright, has some captivating compositions, like that other murder in the building set in silhouette against the downtown Manhattan skyline, or that wild shot where we see the kidnapping as the baby is on the carousel attached to a truck(!)

And how this ends ultimately is satisfying, even if it takes some time to get there. It's probably minor Cohen, but if you're like me and working your way through his body of work, it has its moments and eccentric and funny and hard-edged dialog to get you through.

Some nice shots and a few moments of suspense still don't help Perfect Strangers from dragging a bit too much. It's one of Larry Cohen's more down to earth films without monster babies or blob-like yogurt, but not a lot of the script makes sense and it ends with more of a thud than a bang.

A hit-man 's crime took place under a toddler's eyes.The boy cannot speak yet ,but as his mother unwisely says,he's very clever,very observant and when he starts speaking,he will have a lot to tell us about.So the murderer seduces the mother in order to get rid of the witness.The only interesting scenes are the ones which involve the man and the child.And even with them,the movie never really takes off.The writers drag things out with their photographs trick which exhausts any suspense.The adults are not very convincing,and Johnny's behavior does not make any sense.The mother is a bubblehead -how long it takes her to find out what lies beneath!-,and the actress does not even succeed in making us believe she loves her son dearly.

This low-budget crime drama deserves a second look (unfortunately it is currently unavailable in video). It is a good example of modern film noir, with its gritty realism, excellent New York location photography, and moody score.

The story involves, Johnny, a hitman (played by Brad Rijn), whose contract hit on a gangland rival is witnessed by a three year old boy, playing in his backyard. Johnny's initial motivation to "eliminate" the one witness to the crime (under orders of his mob boss) becomes conflicted by his growing romantic involvement with the boy's mother, Sally, (played by Anne Carlisle). Occasional semicomic relief is provided by the incomparable Ann Magnuson, in the role of a male-hating ultra-feminist and best friend of Sally.

The story is by no means perfect and the ending somewhat disappointing. But its appeal lies in its offbeat look and quirky directing and acting. This is a film with definite cult potential.