No Way to Treat a Lady

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.

ROD STEIGER has an actor's field day assuming many different disguises when he decides to play a cat-and-mouse game with detective GEORGE SEGAL who is hot on his trail to capture a serial killer. That about sums up the plot contrivances of NO WAY TO TREAT A LADY, which has Steiger donning various make-up disguises so that he can gain entry into unsuspecting female's apartments and promptly strangle them.

The dark humor is always on the surface of this comic showcase for actor Steiger, who dons each disguise with relish and gives a performance you're not likely to forget.

EILEEN HECKART is his overbearing (ultra so) Jewish mother who has unwittingly driven her son to the brink of madness. She's so good at "overbearing" that she almost drives the audience mad too, but LEE REMICK is rather wasted in a colorless role as a dame who's been around the block a few times and likes to spout smart talk. It's not a well developed role and Remick can do little with it but look good in plenty of make-up and mascara.

For pure titillation and subject matter, this is way ahead of its time, a comic thriller that is largely forgotten and deserves some attention, if only for Rod Steiger's tour de force role, all played in tongue-in-cheek manner.

No Way to Treat a Lady (1968)

A showpiece for Rod Steiger. He's a great actor, and he takes on the role of an actor taking on a variety of roles, one by one, as a killer with a few issues to work out. The other two people have full fledged roles but they end up secondary: Lee Remick marginally overacting a ditzy but charming young woman and George Segal in what might be the performance of his life as a low key detective.

Called a comic thriller by some, it hovers undecided...it's not a goofy comedy with thriller trappings like the 1960s Pink Panther movies, and it's not a thriller with some humor giving it humanity like much of Alfred Hitchcock's. So we flipflop from some really funny, if somewhat predictable, lines between the detective and his mother (about Jewish clichés) and some really chilling murder scenes, hammy but gruesome, too.

If you can rise to the surface and enjoy all the pieces as they come together, maybe swallowing a little during the overdone last ten minutes, it's a pretty intensely enjoyable farce and psychodrama.

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.

This has got Rod Stieger playing a psycho mom obsessed killer in the big city and George Segal plays the young cop who is taken off the case and then put back on by request of the killer. He thinks Segal understands him. In one good part the killer rings an apartment dressed as a cop and you only hear his voice because he has his back to the camera but the voice is George Segal's not Rod Stieger's. When the camera comes around to him it's Rod Stieger. It would have been more interesting if the killer could actually mimic Segal's voice and have him do it while he's talking to Segal. But it was only thrown in to add to the suspense. The movie is pretty good, well written, well acted, but dated. Which to me is not a bad thing I would give it a 7.5 only because the ending was too quick and neatly packaged.