User reviews

A very decent effort from director Jonathan Demme before he went on to better things,LAST EMBRACE is inevitably compared to the works of Alfred Hitchcock,with many scenes derivative from many of the master's most famous works(VERTIGO,THE MAN WHO KNEW TOO MUCH,STRANGERS ON A TRAIN,etc.),but this is actually an effective suspenser in it's own right,with an intriguing plot,good performances and an exciting finale.Roy Scheider plays a Secret Agent just released from care after suffering a breakdown after his wife was killed in a shootout in a restaurant.After finding a woman(Janet Margolin)who has moved into his flat,he begins to suspect someone is trying to kill him after sinister messages in Amharic keep turning up.

The film would've been more superior with more humour and better pacing,but nevertheless this isn't at all a bad Hitch imitation,with the bird imagery(a motif Hitchcock used frequently in his films)and a fine musical score by Miklos Rozsa(who had himself worked with Hitchcock on SPELLBOUND)adding to the atmosphere.The performances are fine,especially Ms Margolin,an undervalued and lovely actress who never quite made it to the top,making her character quite pitiable despite her actions.Her early death at the age of 50 in 1993 was indeed a sad loss for a film performer who deserved better.

LAST EMBRACE was made shortly before Hitchcock's death in 1980;one wonders did he ever see this film? If so,I think he would have quite enjoyed the homage on view,not great,but fairly respectful and entertaining.

I don't know exactly why I find this film interesting. The plot is pretty thick and often hard to follow and sometimes the story moves at a glacial pace. Still, it's rather neat. Roy Scheider always looks kewl when carefully groomed in up to date wardrobes. And the nose, that nose, pointing in half a dozen different directions at the same time. Janet Margolin was so beautiful. It's difficult to take your eyes from her when she in on screen. She projects a sort of pathos, a winsome helplessness, even after is is revealed that she can be a pretty cold-blooded babe underneath all that vulnerability, a primordial fatale monstrum. She has one or two sexy scenes that almost in themselves justify watching the movie. And I've always found John Glover a magnetic actor. He's never quite able to mask that Maryland accent. Here he plays a snobbish Princeton professor in seersucker, jealous of Margolin's attraction to Scheider. And when we first see Sam Levene's face, as a stranger on a train, there is the shock of recognition on our part. What a long absence, Sam! Nice shots of Princeton's campus. There's a shoot-out (the only one) in the empty quad and campanile producing enough ringing bells to drive you mad, which Miklos Roszas score does not to. It's unmistakably his own and evokes other earlier black and white noirs. The climactic scene was shot at Niagara Falls.

Enjoyable mystery movie involves a guilt-ridden agent , and her new friend who attempt to locate a strange murderer who leaves Jewish signals ; as it begins with an ancient warning and it ends at the edge of Niagara Falls . A feverish thriller in the Hitch style containing several iconographic elements and dealing with an ex-secret serviceman called Harry Hannan (a tremendous Roy Scheider) and his wife being attacked by hoodlums (Joe Spinell) when they find on holiday . The government agent barely recovered from nervous breakdown after seeing his spouse shot by bullets and he then becomes involved into a criminal intrigue . As someone attempts to push him under a train , other people pursues to him . Later on , he receives a mysterious death threat in Aramean language . There happens five murders , Harry must solve the or die trying . Meanwhile , an anthropologist (a non box-office actress named Janet Margolin , here excellent , though sadly died a bit later on) unintentionally shares Scheider's flat . Scheider has his old colleagues (Christopher Walken) and his brother-in-law (Demme frequently casts Charles Napier) out to get him .

Entertaining mystery movie packs thrills , action , suspense , pounding soundtrack and breathtaking outdoors from Niagara . This agreeable picture has a number of elements and iconography from Alfred Hitchcock : vertiginous heights , innocent men wrongfully accused , gorgeous bombshells , voyeurism , long non-dialogue sequences , among others . Demme's tribute to Hitch includes various street scenes from ¨Marnie¨ , the bell-tower from ¨Vertigo¨ and the final climax straight from ¨Saboteur¨ transferred from the Statue of Liberty to Niagara Falls . Furthermore , ¨Niagara¨ by Henry Hathaway , in which there is also a Femme Fatale played by Marilyn Monroe who spells a deranged man performed by Joseph Cotten and of course the breathtaking Niagara Falls with people fighting next to viewpoint similarly to ¨The last embrace¨. However , the film achieved limited success and in some countries was shunned by its distributors . Good acting by Roy Scheider as a secret agent becomes involved in a deep nightmare and Janet Margolin as a strange woman who has taken possession of his flat . Ample support cast formed by notorious secondaries such as John Glover , Sam Levene , David Margulies , Jacqueline Brookes , and Charles Napier . And brief acting from Christopher Walken , Max Wright and Mandy Patinkin . Colorful and evocative cinematography by Tak Fujimoto ; director Demme frequently uses Tak Fujimoto as his director of photography . Thrilling and intriguing musical score by the classic Miklos Rozsa in Bernard Herrmann style . The motion picture was well directed by Jonathan Demme who was voted the 45th Greatest Director of all time . Here includes his ordinary touches such as characters looking directly into the camera and heavy use of steadicam interspersed with shots of hand-held shots .

This is one of Janet Margolin's best performances and I am reminded of how I miss seeing her in films. She certainly plays a complex character here. Her metamorphosis in one scene in particular is dramatic. Reuniting her with John Glover was great too. Even though they shared no real scenes in Annie Hall, I remember them both in that and was pleased to see each in Last Embrace. Glover is still going strong. The plot of this Hitchcockian thriller is multidimensional and fresh. I think Demme ( not one of my favorites) did a great job and the famous finale at Niagara Falls is reminiscent of NIAGARA without really aping it. This is the film that made want to ride the Maid of the Mist. And the one I always remember when I miss Janet Margolin.

This film certainly had a memorable scene with a man clinging for his life with Niagara Falls below! It's always stuck with me, even though it has been a long time since I've seen the movie. I've been waiting for this to be released on DVD so I can see it again, but as of now it's only available in Region 2.

It might be fun again just to see veteran actors Christopher Walken, Mandy Patinkin and John Glover in a film made 30 years ago. Director Jonathan Demme has done some interesting films since then, too.

Most of the story involves "mysterious" people chasing others and if I went into it in any detail it would ruin things for anyone who hasn't seen it. That's especially true because there are so many twists and turns in this story. However, to be frank, I think Hollywood has overdone "conspiracy theory" movies, of which this is one. I also think the profanity could have been lowered in here, especially by Roy Scheider's character "Harry," and the film would still have been just as intense.

What I really appreciated, more than the actors or story, frankly, was the photography and Demme's direction. There were a lot of really interesting camera angles, shots that zoomed in an out and other gimmicks that I usually fall for. There were enough of them to carry the first hour, at least. Living not too far from Niagara Falls, I was glad to see that in the climactic finale.

In the first scene someone tries to shoot down Roy Scheider but kills his wife instead. That's not a bad start of an intrigue. But the problem here is the lack of motivation. We never learn who or why Roy Scheider had to be killed, and there are a number of assassination attempts. He works for intelligence, all right, but that is not enough. His boss seems to be Christopher Walken, who is expert on wicked roles, and he actually tells Scheider's wife's brother to kill him, but there is no motivation. The lack of any motivation here makes the film absurd in its forced effort to contrive a great action thriller, while nothing makes any sense. There is a girl who also eventually proves to have some desire to kill him because of some grandmother's trauma, which deviation from all sense and logic only adds to the nonsense of this ridiculous plot. Roy Scheider is always good and saves the film in many ways, but the only real value of the film is the fantastic score by Miklos Rosza, in collaboration with no one else than Bernard Herrmann, which adds to the film's character of being nothing else than a poor Hitchcock paraphrase.

Why watch "Last Embrace" if everything in it is so obviously copied from Hitchcock? Why not watch a good Hitchcock classic instead? Well, for those who just long to see a more modern movie, "Last Embrace" might be a good compromis. Some folks just cant stand to watch the old movies anymore, because they look old and dont connect to the modern world anymore.

The story and the acting in itself is rather good and full of great suspense. The movie is about a man who fears for his life. Somebody is out trying to kill him, but he doesnt know wny. He tries to decipher a mysterious letter that is sent to him, written in an unknown language, in the hope to find out who is trying to kill him.

Sometimes the acting by the supporting actors is somewhat overdramatic, deliberatedly done to again copy the original Hitchcock style in which characters often performed with large gestures. Nowadays that is unheard of and it would look a bit silly, but it was one of those Hitchcock characteristics that was (badly) copied into "Last Embrace" as well.

As a soundtrack fan I must admit that I disliked the use of a fake old soundtrack score (in MONO). The score in itself was beautiful, but it didnt blend well with this modern version of a hitchcock story. I dont mind remakes of good movies, but at least make them in a modern way. Now the deliberatedly old sounding, music score constantly clashes with the modern settings. But most people probably wont mind this at all, this is just a personal irritant of mine, because I like music so much in movies...

To conclude: if you never have seen a Hitchcock movie and even if you dont know Roy Scheider either, "Last Embrace" is still a good suspense thriller. It has stood the test of time nicely. It could have been better, but I have watched it several times over the years and I still get thrilled by it.

"Last Embrace", directed by Jonathan Demme, takes itself way too seriously, for such a shallow film. The whole thing smacks of audience manipulation, and the exciting conclusion above Niagara Falls, in no way redeems what has preceded it. Someone is trying to kill Roy Scheider, and fine actors Christopher Walken, John Glover, and Charles Napier are essentially wasted as "red herrings". The story is far from tight, and leaves plenty of loose ends dangling uncomfortably. Once you witness the highly unlikely tub scene, you will better understand the lack of logic in this film. Everything about "Last Embrace" is disjointed, confusing, and really never comes together as entertainment. - MERK

I wasn't too impressed with this film to start with. I felt it was trying too hard to be a 1940s tough guy detective with a cast never really suited to it, our main character is meant to be some kind of special agent or something but I wasn't sold. It's the 1979 on this picture and that old act and scripted dialogue won't work with the dry sardonic tough guy lead man, it's a real throwback. The Creamy course and white suits just adds to the confusion. Where the story does start to work though is as an effective mystery with our lead character now jumpy and paranoid after the death of his partner.

The mystery Notes, the strong adult elements all worked for me, it clearly tries to pay Homage to Hitchcock too as does the music, right down to its ending. The cinematography is also quite well. A mixed review.

This is an engrossing thriller -- clearly in the vein established by Hitchcock -- and very much like Brian De Palma's carefully structured style. This is the first Jonathan Demme film I saw and I expected him to work more in this genre. Fortunately, he directed a cornucopeia of film in various styles that vary between intriguing and amazing: including "Melvin and Howard," "Stop Making Sense," "Philadelphia," and one of the best films for repeat viewing, "The Silence of the Lambs." This film stands out from the standard murder mystery in that it presents a non-standard view of Jews who immigrated to the US. To divulge more would spoil the film. Roy Scheider is perfect and Janet Margolin is beautiful. In addition , now -- nearly 25 years later -- it is fun watching Chris Walken, John Glover and Mandy Patinkin early in their careers. It is funny to realize that Margolin, Walken and Glover were all in "Annie Hall" two years earlier.

Can we throw out the whole murder-mystery plot and just watch Ellie and her landlord getting it on in their lovely apartment? The chemistry between Roy Scheider and Janet Margolin is so good, it's a real shame this movie wasn't conceived as a romcom: he even adopts her cat. Roy Scheider in black speedos is a sight to see! And right after that there's a closeup of his long monologue, without any cuts. This man was gold. The film is enjoyable, with beautifully shot interiors and exteriors and interesting characters played by John Glover and Christopher Walken. It's interesting how the movie transforms from cold cop thriller to warm, romantic, mysterious love story. It's a change of genre that should have been complete.

Roy Scheider stars as a retired secret agent mourning the murder of his wife, now busy dodging the bad guys who are out to kill him. Director Jonathan Demme is so character-oriented a storyteller that to see him attempting an Alfred Hitchcock-type suspense drama, with the accent on narrative and action, is almost predictably disastrous. Screenwriter David Shaber, adapting Murray Teigh Bloom's novel "The 13th Man", wants to stir up paranoia and intrigue, but either he or Demme dropped the ball after an OK start. For those who stick with it, there's a visually impressive climax at Niagara Falls, but Demme gets next-to-nothing out of his cast, and even less out of this tepid story. *1/2 from ****

This small pic was a preview of great things to come from Jonathan Demme, who went onto MELVIN & HOWARD, SILENCE OF THE LAMBS, STOP MAKING SENSE, to name a few other notable works. This was a decent 100 minute time waster that you either got or you didn't, liked or hated. Roy Scheider turned in his always good performance and I didn't mind looking at Janet Margolin in the bathtub.

The Silence of the Lambs, Philadelphia, The Manchurian Candidate, Rachel Getting Married; all films by Jonathan Demme. While this film is not in the category of those listed, it shows the promise of a great director.

Roy Scheider, who won Oscars for All That Jazz and The French Connection, and who is probably best know for his role as the sheriff in Jaws, plays a man who has become a target after his wife's murder. He certainly gives action lovers a film that will please.

So, why is a Jewish fanatic running after Harry (Scheider)? And, why is a graduate student (Janet Margolin) living in his apartment when he returns home? Finally, is this a true homage to Hitchcock?

Some Hitchcockian thrillers are quite rightly considered to be `homages' to the master of suspense like DePalma's Sisters. Although The Last embrace is charming in paying tribute to one of the greatest directors so obviously, there is even a dramatic finale in a large crowded arena, it doesn't belong in that category. The beginning was promising though. I imagined it to go in all directions. Is Roy Scheider a nut, or is he really a possible victim of a mysterious organization, represented by a sinister Christopher Walken. Or perhaps both? Roy Scheider looked like exploding every second! It kept me guessing until the `girl' entered the play. From that moment on i got the feeling i have seen it all before, and better. Clearly she's the femme fatale who isn't the person she appears to be. Of course Roy, after a rough start, falls under her spells. A champion of paranoia at first and now a lovesick guy, blind for the danger that she is. I didn't buy it. And no 'suspension of disbelief' to save it. Because of the sometimes badly written dialogues between the main characters and an ultimately uninteresting B-movieplot, jammed with twists an turns never leading anywhere, underneath it all. The acting is o.k., but not outstanding. And that would have been necessary to make a mediocre script come alive.

But Jonathan Demme deserves some credit. After having read many of the earlier reviews, however, I tend to agree that a lot of the theme is convoluted, and even the untrained eye will see familiar, much too familiar cinematography.

If one thinks of "Niagara", "Vertigo" and "The Man Who Knew Too Much", you will have a pastiche of ideas similar to this film.

Roy Scheider is very good, and underplays his role as a CIA/secret agent. Janet Margolin is attractive, but there is way too much melodrama when they first meet; too scripted. John Glover portrays an elitist professor, there are some interesting scenes at Princeton University. The shooting at the bell tower is similar to "Vertigo", right down to the winding staircase.

There is an interesting back story about the Jewish immigrants in New York, and David Margulies portrays a Rabbi who deciphers Aramaic messages. Perhaps this part of the story could have been more central, so we would not have wound up with a Hitchcock copycat film.

That aside, there are some unique camera shots, the backdrop of Niagara Falls is an interesting choice, and if you are at all interested in Demme's work, this film is worth viewing.

There are so many similarities between this relatively obscure thriller directed by Jonathan Demme and the works of either Alfred Hitchcock or Brian dePalma, that it's hard to know where to begin. Even the plot outline suggests a Hitchcock film with someone like James Stewart carrying the lead.

But here it's ROY SCHEIDER, a very intense Scheider (even more so than in JAWS), because he never recovered from a nervous breakdown after his wife's sudden demise. And little does he know that he's a part of a plan of vengeance when he starts receiving threatening notes--nor does he know who to trust, and when. Naturally, in a story of this sort, we have to have a femme fatale and in this case it's JANET MARGOLIN as someone who tells him she wants to help solve his dilemma.

There are some tricky camera shots, odd angled and always interesting, and Scheider really does carry the film with an extra intense portrayal of a hunted man who doesn't know who his enemies are.

Add to this the somber score fashioned by none other than Miklos Rozsa (who did that wonderful SPELLBOUND score for Hitch), and you have all the elements of a first-rate crime story.

Unfortunately, there are a couple of drawbacks. The tale is a bit too leisurely in building up to the suspenseful moments--and only Scheider and Margolin are seen to advantage. CHRISTOPHER WALKEN has what amounts to a cameo role and most of the other members of the cast are unfamiliar faces.

But it is suspenseful in a calculated, contrived sort of way and does build to a terrific climax at Niagara Falls.

Great location shots of Manhattan, 1978-9. And there's a scholarly feel: action man goes to a library, takes the train to Princeton to consult with a professor, researches his family history in a Jewish archive. But his quest is so deeply narcissistic.

Skip the end of the film, unless you want to see the Niagra Falls viewing platform - it's pretty great. I advise switching off at the bathtub scene, where the key to the riddle is revealed - with 30 minutes still on the clock. The long, drawn-out chase scene lacks momentum because we know, already.

The answer to the film's riddle - who's trying to kill lovely he-man Roy Scheider - is silly, anti-feminist backlash, and, more generally, puritanical erotophobia. You know, women are to blame for everything (because men fail to grow up). The basis of patriarchal religions. Yuck.

Too bad. I was really diggin' the cinematography.

Many films are called "Hitchcockian", usually because they merely have a twisty, psychologically-motivated plot. But Jonathon Demme's 'Last Embrace' is far more than that, as much a piece of homage as Peter Jackson's recent 'King Kong' remake was to its predecessor. The natures of the characters, and the style of acting, dialogue and music all resemble Hitchcock's own work. A number of elements even pay more direct tribute: there's a shower scene (a la 'Psycho', albeit less bloody), while the scene in the tower, and the ambiguous heroine who isn't what she seems, bring 'Vertigo' to mind. The ending, in fact, resembles aspects of both the start and end of that latter film, while the use of an American landmark (the Niagra Falls) also recalls the use of Mount Rushmore to similar effect in the conclusion of 'North by Northwest'. But for those of us who don't in fact adore Hitchcock, and who find his movies stiff, badly acted and contrived, is a carbon copy such a welcome thought? In fact, Demme, a director I often think of as clunky, proves himself well up to the art of sympathetic pastiche, and I actually found this movie a little more engrossing than many of Hitchcock's own, although the plot is still holey and the overall feeling is that of an early 1960s movie, unusually well done, rather than a real late 1970s film. You'll probably enjoy it if you're more partial to Hitchcock than I am.

Although Jonathan Demme's 1992 Oscar-winner THE SILENCE OF THE LAMBS was his first major suspense thriller, it wasn't the first film he'd ever made in that genre. That honor goes to Demme's 1979 thriller LAST EMBRACE (LE), which I first saw and loved during its original theatrical run. At the time, LE was touted as a romantic Hitchcockian thriller. While LE definitely has strong elements of VERTIGO and other Hitchcock classics, I've always considered it to be more of a paranoia thriller with film noir touches, which I guess makes LE what might be called "film shachor." :-) Cool, craggy yet suave Roy Scheider had long been one of our family's favorite tough-guy actors; to many fans. At first glance, he might not seem vulnerable enough to be convincing as a beleaguered paranoia film hero. However, Scheider proved to be perfect casting as Harry Hannan, a government agent with more baggage than Louis Vuitton. Harry is still heartbroken and guilt-ridden about his beloved wife getting killed while she accompanied him as cover on one of his assignments. After he spends time in a Connecticut sanitarium recovering from his nervous breakdown, Harry has barely had a chance to lose his institutional pallor when he's almost shoved in front of an express train. When he returns to his spy agency in New York City, his slippery spymaster Eckart (Christopher Walken) keeps him at arm's length; maybe Eckart thinks Harry's sharp cream-colored suit makes him too conspicuous for undercover work. Worst of all, Harry discovers he's one of several Jewish men getting death threats written in Biblical Hebrew from an unknown "Avenger of Blood"…and so far, he's the only one still alive.

Everyone scoffs at poor Harry's jitters. Who can he trust? Certainly not his brother-in-law (Charles Napier), a fellow spook who blames Harry for his sister's violent death ("You're careless with people, Harry"). Our hero eventually joins forces with Ellie Fabian (Janet Margolin), a pretty New York graduate student who sublet his apartment while he was in the sanitarium. But the vulnerable Ellie seems to have her own issues and secrets. Will that spell doom for both Ellie and Harry? And how does a turn-of-the-20th-century Jewish brothel figure in the sinister fix Harry has found himself in? Scheider and Margolin had fine chemistry together; their characters' sensitivity and wariness made me feel for them, and they even had playful moments along the way. Ms. Margolin was at her loveliest, too. (Sadly, she died of ovarian cancer in 1993 at the age of 50. Janet, we hardly knew ye.) Scheider, Margolin, and Walken are aided and abetted by a rogues' gallery of stellar New York character actors, including John Glover as Ellie's insecure professor boyfriend; Marcia Rodd as Harry's nervous agency contact; David Margulies as a rabbi with connections; Joe Spinell and Jim McBride as thugs; Captain Arthur Haggerty as a bouncer waiting to use the phone; Mandy Patinkin and Max Wright in bit parts as commuters who may or may not have some 'splainin' to do; scene-stealer Sam Levene as the crotchety but likable head of a secret Jewish society; and director Demme himself cameo-ing as a stranger on a train.

Some critics complained that despite Demme's obvious affection for the Hitchcockian material, LE could have used more of The Master of Suspense's zest and verve. I won't deny that the pace slows down at times, but with Roy Scheider at his peak and Janet Margolin's touching, multifaceted performance, I was willing to be patient. Demme and screenwriter David Shaber (adapting Murray Teigh Bloom's novel The 13th Man) make up for the film's flaws with plenty of appealingly quirky Demme-style characterization. Judaism's key role in LE's plot was fresh and intriguing, as well as making excellent use of an elaborate, well-crafted red herring. The settings contribute to the film's Demme-ness; his ace Director of Photography Tak Fujimoto really makes the New York City and Princeton, NJ locations integral to the plot and its Hitchcockian motifs, especially the bell tower sequence and an exciting climax at Niagara Falls (I can hear you making lewd jokes :-)). The film brims with only-in-New-York characters and situations; for instance, the competition for living space in Manhattan provides amusing undertones to Harry's first awkward encounters with Ellie. Miklos Rozsa's swooningly romantic yet foreboding score pulls together the film's emotional undercurrents beautifully. Between LAST EMBRACE and STILL OF THE NIGHT, if I'd been Roy Scheider, I'd have stayed out of Central Park and environs for fear of elusive assailants! LAST EMBRACE is also available on DVD: http://www.mgm.com/view/movie/1084/Last-Embrace/

6 out of 10

A mysterious man, who works for a mysterious organization, is being chased by some mysterious killers, for some unknown and mysterious reason. Has all the trappings of a bubblegum thriller and when you scrape away all the flashiness that is really all you get.

Not that it isn't entertaining. The camera movements and angles are downright dazzling. I especially liked those frantic zoom shots that look like it's shot from a camera put on a roller coaster car. There is also some interesting use of lighting and framing. Not to mention some terrific on location shooting especially the Niagara Falls finale. The story is very fast paced with a new twist coming with literally every scene. There is also a wide assortment of other gimmicks used that on a non-think level can be fun, especially during the first hour. The haunting music score is good too although it gets played a bit too much.

The problem really comes with the fact that all these twists and turns really add up to a lot of nothing. Too much is left unexplained and the final revelation seems far-fetched. There is a wide segment of other loopholes and there is just the plain old fact that you have probably seen a lot of this before. It also becomes very cliched and even kind of annoying at the end. The film expects you to become close to characters that on the whole are very poorly fleshed out.

The movie does offer a great opportunity to see Janet Margolin who is a very uniquely and naturally beautiful woman. Even when she is made to look frumpy she is beautiful. She has a face that looks like it never got past 21. She closely resembles 80's porn stars Kelly Nichols or Jennifer Noxt.

Scheider does not fare as well. He looks alright, but his presence is very transparent. He just doesn't seem to have a strong enough personality or acting ability to really create a memorable or forceful impression. Also that white suit he wears all the time has really got to go.

Overall despite it's best efforts it is still just a poor man's Hitchcock. The real thing is still better.

(1979) Last Embrace THRILLER/ MYSTERY

Adapted from the novel by Murray Teigh Bloom that has Harry Hannan (Roy Schneider) attempting to get over his wife's shooting death when some perpetrators were attempting to gun him down while he was having some quiet time with his wife Dorothy at a restaurant, by coming back to the the firm. The next thing we know because of his long absence, the firm that he works for does not want him back anymore. And at that point he begins to get paranoid thoughts once someone tries to push him on front of a train. And upon coming back to his apartment, he then meets an anthropologist student, Ellie Fabian (Janet Margolin) who claims that it's been rented out to her. And before he leaves, he opens one of his letters written in Hebrew Aramiac that marked him as to be selected to die.

The first half of this movie appear to be generic with Harry (Roy Schneider) having paranoid thoughts about is trying to kill him, until he comes across more revelations regarding the current girl he is living with. It went from that before it geared toward Brian De Palma mode from "Sisters" to "Obsession" for there's a psychological aspect.