Review: No Way to Treat a Lady

A Jewish police detective named Mo Brummel (George Segal) tries to apprehend a frustrated actor/theatre manager turned serial killer with a penchant for disguises and accents (Rod Steiger). The latter calls the former after every murder for a little chat and an odd relationship of sorts is formed. Meanwhile, Mo romances pretty Kate (Lee Remick), and deals with an angry boss (played TV veteran David Doyle) and nagging mother (Eileen Heckart).

 

Offbeat, highly underrated 1968 film from director Jack Smight (“Harper”, “Midway”) featuring one of the best-ever performances by Rod Steiger. Scripted by John Gay (“Run Silent, Run Deep”, “Separate Tables”) from a William Goldman (“All the President’s Men”, “The Princess Bride”, “Misery”) novel, it’s a strangely effective mix of macabre black comedy and genuinely interesting crime-thriller. Steiger is clearly having a ball playing the mixed-up killer who adopts various disguises, accents, and demeanours throughout. As funny as he – and the film in general – happens to be, Steiger also gives one of the most compelling portrayals of a mentally disturbed serial killer I’ve ever seen. No, it’s not a subtle performance – this is Rod Steiger after all. However, it’s a riveting, go-for-broke performance that you’ll remember long after you’ve watched the film.

 

I also enjoyed the turns by George Segal, Lee Remick, and Eileen Heckart though the latter two don’t have especially important/complex roles in the plot. Remick is terrific and is almost completely exposed in an orange nightie at one point, a little risqué for the late 60s. She works really well with sympathetic lead George Segal too, and he has one of his better roles on screen. Look for the genuinely funny scene where Remick goes to meet Eileen Heckart (as Segal’s nagging Jewish mother) for dinner. She makes a good impression on her by criticising Segal. Priceless. In addition to being funny, the film is also quite macabre and interesting as a crime-thriller as well. So it works on more than one level. The handheld camerawork by Jack Priestley (“The Midnight Man”, “The First Deadly Sin”) adds a gritty texture to it as well.

 

A somewhat forgotten film of the 1960s, this one’s certainly off-kilter but really effective. Steiger is absolutely terrific as the mixed-up killer, George Segal, Lee Remick, and Eileen Heckart offering up rock-solid support. And how can you not love a film with a character named Mo Brummel? Hilarious for those who get it. This movie needs more eyes on it.

 

Rating: B+

 

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