When his girlfriend Dorie becomes pregnant, Bud Corliss knows that he will be trapped into a marriage and a child that he didn't want. Telling her to keep the whole thing a secret, Bud fools Dorie up onto the roof of a civic building before pushing her to her death and making it look like suicide. The police see it as open and shut but Dorie's sister smells a rat and believes that Dorie was going to the building to be married and that her intended groom was the one that killed her.
Opening with a theme music and bright colours that suggested a 1950's comedy, I was worried that I had been misled by the title that suggested much darker fare. However the story quickly unfolds with a young couple in trouble, suggesting it would be a dated melodrama; but as the story progresses it does become more sinister and much more of a dark thriller. The story doesn't always ring true but it is more than enough to engage and makes for a good base for the film even if it is other aspects that make it stronger.
Oswald's direction is a big plus because he mixes styles and genres well. He uses the colours and sets of a typically 1950's melodrama but at times the lighting, shot framing and music of a noir of sorts. The clash of genres works well, complimenting one another and making it seem more tense for being such a tough story within such a colourful and homely world of college students. The performances are roundly good. Wagner steals the show of course with a ruthless and selfish performance that could easily have been an one-note affair were it not for the script and Wagner's ability to bring out character in a couple of strong scenes (including an excellent one with his mother at a pool party). Woodward is convincingly naïve and works well with her character but I didn't think Leith suited Ellen that well, although I didn't totally buy her character either. Hunter is solid if uninspiring and the support cast are pretty much the same.
Overall this is an enjoyable film that works thanks to strength in several areas. The story is engaging enough but it was the direction, visual style and use of music that impressed me more. Add to this a dominating central performance from Wagner and you have a film that is worth checking out.
Opening with a theme music and bright colours that suggested a 1950's comedy, I was worried that I had been misled by the title that suggested much darker fare. However the story quickly unfolds with a young couple in trouble, suggesting it would be a dated melodrama; but as the story progresses it does become more sinister and much more of a dark thriller. The story doesn't always ring true but it is more than enough to engage and makes for a good base for the film even if it is other aspects that make it stronger.
Oswald's direction is a big plus because he mixes styles and genres well. He uses the colours and sets of a typically 1950's melodrama but at times the lighting, shot framing and music of a noir of sorts. The clash of genres works well, complimenting one another and making it seem more tense for being such a tough story within such a colourful and homely world of college students. The performances are roundly good. Wagner steals the show of course with a ruthless and selfish performance that could easily have been an one-note affair were it not for the script and Wagner's ability to bring out character in a couple of strong scenes (including an excellent one with his mother at a pool party). Woodward is convincingly naïve and works well with her character but I didn't think Leith suited Ellen that well, although I didn't totally buy her character either. Hunter is solid if uninspiring and the support cast are pretty much the same.
Overall this is an enjoyable film that works thanks to strength in several areas. The story is engaging enough but it was the direction, visual style and use of music that impressed me more. Add to this a dominating central performance from Wagner and you have a film that is worth checking out.