Under My Skin

This early work from Canadian director Milan Cheylov in conjunction with his wife Lori Lansens, the latter designated as screenwriter, is burdened with a small budget, a script having little bite to it, and direction that makes but superficial use of the cast, while not developing a narrative rhythm. Action opens with Jack Skye (Albert Schultz), who is better known as Colt, a soap opera star, on stage crooning, in a private performance, to adoring female members of his fan club at a small theatre in Ontario. Immediately after the ladies leave, he is given an envelope that contains a nude photograph of a woman in addition to a written suggestive invitation promising a supreme romantic experience. Jack is clearly susceptible, largely as a result of his worshipful fans, and predictably believes that the message was sent to him by one of his recently departed devotees, and therefore follows through upon its summons. However, the salacious message is devised by the theatre's janitor, Zor Kabilka (Tony Nardi), whose intent is to abduct and then kill Skye, for personal reasons of perceived revenge. The somewhat rabid Zor blames the actor for his mother's recent death, and he intends by holding "Colt" as prisoner and then disposing of him, to account for what he perceives as the actor's malfeasance. Rationale of Zor's placing the fault upon the TV performer for his mother's demise will be rather less than obvious to viewers, although the janitor's way of thinking that ascribes her fondness for the program in which he stars, "Endless Days", is adequate justification to bring about Zor's homicidal plan, in a storyline that at times is devoid of logic. Another peculiar aspect to the plot has Skye's wife, played by Samantha Follows, generally to be seen sitting within her living room upon a chair as she gazes through a window at Zor's home (the theatre's janitor quaintly resides next door to the television idol!) while discussing her husband's libertinism with her mother who lives with the couple. When she feels that Zor apparently does not return to his house from work, she decides to take direct action by going to the theatre in some vague hope of locating her errant spouse there, thereby bringing the film to its climax. Director Cheylov and his scenarist wife are toward the onset of their cinematic careers here, and additionally have yet to learn that thing or two called for in order to amend continuity weaknesses. It must be stressed that they are drawing upon an obviously small budget. A notable flaw of the production is its below standard sound quality, offering dialogue that is ofttimes inaudible. On the plus side, there is a fine minimalist score contributed by Rick Bortolotti, who smoothly leads a group of musicians, principally a piano along with other percussion instruments. Nardi, an accomplished player gains the acting laurels, overcoming his weakly written dialogue with first-rate timing (and makeup). Schultz, who has advanced to better vehicles on stage and screen, employs a good deal of histrionic enthusiasm, more, in fact, than is palatable in a work that needs more oversight, in addition to a narrative that may cause viewers to scratch their heads at the bizarre climax.