Double Exposure

Michael Callan plays a smarmy photographer who seems, nonetheless, to be regarded as a perfect "catch" by any woman that runs across him; could this have anything to do with the fact that he also co-produced the film? He's a "hero" whom it's very difficult to empathize with, so the movie is in trouble right from the start. However, it's troubles don't end there. It has the production values of a TV-movie (check out that head made of clay or something, near the end), and the ending cheats in a way that I can't reveal, in case anyone wants to see the movie (highly unlikely). Let's just say that the killer knows more than we were let to know he knows. (*1/2)

Double Exposure (1983)

** 1/2 (out of 4)

Adrian Wilde (Michael Callan) is a photographer who is seeing a shrink because he's having very bad nightmares about murdering the women he takes photos of. He tries to strike up a relationship with Mindy (Joanna Pettet) but before long he begins to fear that his dreams are real.

DOUBLE EXPOSURE isn't the most successful film that you're going to watch but there are enough good moments in it to make it worth watching. The best way to describe the film is saying it's a cross between the type of thriller that Brian DePalma would make but with the sleaze factor of a slasher. The two go well together and we get some nice performance that help make the film a bit better than it probably deserves to be.

As far as the mystery goes, for the most part we're given some suspects and we're made to wait until the very end for the killer to be revealed. I thought the mystery aspect worked quite well, although there are some rather silly moments involving a couple cops working the case. The two of them pretty much just show up every so often whenever the film needs to remind the viewer that the murders are being investigated. What really helps the film is the fact that Callan is so good in the lead role of the troubled man who thinks he might be more damaged that he originally thought. Pettet and James Stacy both add nice support.

The film works as a slasher and especially during the scenes where we see the killer talking various women including prostitutes. There's a nice sequence where we see a hooker lure the killer down an alleyway. Director William Bryan Hillman makes the film look quite good but a little more energy and a bit more suspense certainly would have helped things. As it stands, DOUBLE EXPOSURE certainly isn't a masterpiece but it's a mildly entertaining film.

Here's something a little different from Crown International Pictures: a giallo-flavoured slasher with a strong psychological angle and a decidedly nasty edge. DOUBLE EXPOSURE tells the tale of a photographer plagued by nightmares in which he kills a string of young and beautiful women, and a real-life series of killings taking place at the same time. Could he really be the serial killer responsible?

DOUBLE EXPOSURE feels very much like an '80s-era giallo along the lines of A BLADE IN THE DARK or NOTHING UNDERNEATH. It has an unusually vicious edge to it for a Crown International film; it's not that it's particularly gory - and it's certainly nowhere near as gory as your average Italian giallo - it's just that the murders are ruthless and mean-spirited. Being a Crown film, there's ample nudity if you're after that, along with a very low budget that gives a schlocky look to everything that occurs.

The cast give solid rather than unspectacular performances and there are supporting turns for a few familiar faces like Cleavon Little. Michael Callan is pretty good as the weirdo lead, covered in sweat and acting deranged for the most part, although anybody with any experience of this particular genre of films will guess the identity of the killer early on in the proceedings. Nevertheless, DOUBLE EXPOSURE is a breath of fresh air when compared to Crown's typical output (i.e. low budget sex comedies).

A good old early eighties slasher film with a distinct giallo flavour to it, Double Exposure does what it sets out to do, but adds a little character to the proceedings too. Adrian Wilde is a photographer who suffers from bad dreams, especially those where he's killing the models who work with him. His brother, a stunt man whose career cost him an arm and a leg (literally), offers support but seems to be increasingly bitter and angry at the world. Wilde meets a girl called Misty, but his dreams and failing grip on reality threaten the relationship, and when the models start turning up dead in real life, Wilde reckons he's got a big problem on his hands.

The giallo side of things rears it's head as it become apparent that the true life killer is a photographer, but in the giallo style, just about every male character wields a camera at some point, from Wilde and his brother, the local barman, the psychiatrist and a gay colleague of Wilde's. Some of the killings seemingly take place in Wilde's dreams, and although the gore level is low the nasty level is quite high, especially when one model has her head forced into a bin bag that contains a snake.

So, is Wilde a nutter or is there some other utter nutter muttering in the background (with a camera shutter covered in butter)? I'll leave that up to you to find out, but I enjoyed this film, although I'm kind of getting fed up watching middle aged men getting it on with the chicks, like.

A photographer in Los Angeles (Michael Callan) has troubling dreams as he juggles visits to a shrink (Seymour Cassel), dealing with his amputee brother (James Stacy) and establishing a new romantic relationship (Joanna Pettet). Meanwhile a serial killer is on the loose.

"Double Exposure" (1982) is a psychological murder mystery with some slasher elements. Think of movies like Shatner's "Impulse," "The Centerfold Girls" or "Haunts" mixed with a little "Nightmare" from the year prior. It's basically a quasi-remake of Callan's own "The Photographer" from eight years prior.

The quality cast is rounded out by the likes of Pamela Hensley, Cleavon Little, Robert Tessier and Don Potter with the female cast highlighted by Misty Rowe (Bambi), Debbie Zipp (Toni), Sally Kirkland and Victoria Jackson (her cinematic debut in a bit part).

It runs 1 hour, 34 minutes, and was shot in the Los Angeles area, including Ventura Boulevard in Sherman Oaks and Tarzana, Burbank and Santa Monica Beach.

GRADE: B-