Based on a true story, Anna Kendrick’s directorial debut, Woman of the Hour, is a slick 1970s crime thriller that is both a compelling serial killer film and an investigation into the pervasive sexism and misogyny that permeated that era’s society.
Anna Kendrick plays Sheryl Bradshaw, a struggling actress who is desperately attempting to break into Hollywood during the 1970s. After numerous unsuccessful auditions, her agent convinces her to appear as a contestant on “The Dating Game,” a reality show where a female contestant asks questions to three bachelors without seeing their faces and chooses her date depending on who gives the best answers. One of the three bachelors, Rodney Alcala (Daniel Zovatto), wins the contest and becomes Sheryl’s date. But unfortunately for her, he is a psychotic serial killer who charms women before raping and killing them.
Woman of the Hour consists of two storylines, one of Rodney’s and one of Sheryl’s, which eventually merge at the reality show. The film’s opening sequence perfectly establishes Rodney’s character as a psychopathic murderer, demonstrating how he selects his victims and kills them. It begins with Rodney photographing a woman in a remote area of Wyoming plains (he usually picks up his victims by convincing them to model for a photoshoot). He speaks softly, listens to the girl, and charms her with his dreamy eyes. As a result, she begins to open up and spills her heart about how her partner abandoned her and left her alone when she became pregnant. His comforting words and encouragement to speak her mind put her at ease and make her feel heard and understood. However, just as she starts finding solace in Rodney’s company, he approaches her; his expressions change, his eyes turn to evil, and suddenly, he brutally attacks, rapes, and kills her. That is his primary modus operandi, which he employs a few times during the film, establishing him as a serial killer.
On the other hand, Sheryl is struggling to make it to Hollywood, and despite working hard on her craft and hustling, she is not taken seriously and is not getting the chances she believes she deserves. Feeling helpless, almost broke, and on the verge of giving up hope, she grudgingly decides to participate in The Dating Program because her agent promises it would get her “seen.” She is “seen” alright, but only by the killer.
After Rodney wins the contest (the prize being tickets to see Carmel with Cheryl) and becomes Sheryl’s date, it’s apparent that she’s his next target. So, when the show ends, he bumps into her, and they go to a bar for a drink, setting the stage for what’s to come. He tries to establish rapport by acting kind and approachable at the beginning, but things quickly go downhill in one of the most awkward dating scenes in recent memory, as she ends the date and decides to walk away. But it does not end there; he chases her in the parking lot after she gives him a fake phone number, heightening the tension and making us fear for her safety (particularly the pan shot where she is walking towards her car and Rodney is following her in the background, in the corner of the screen). Kendrick’s direction throughout the sequence is superb and an outstanding example of generating tension.
Woman of the Hour deftly examines sexism and misogyny in the 1970s, especially in the entertainment industry, as Kendrick quietly inserts instances throughout the film without coming across as overly loud or in your face. Consider Sheryl’s example. In her introductory scene, in which she auditions for a role, the individuals taking her audition are more concerned with her body and willingness to be naked than her acting skills. Additionally, Terry (Pete Holmes), Sheryl’s neighbor and only friend in town, makes an unwanted pass at her. Even though she’s uncomfortable and terrified, she plays nice, a behavior that is also evident in the case of Amy (Autumn Best), a teenage runaway who manages to escape Rodney by playing nice towards the film’s end. This could be because women generally have an innate dread of the violent consequences that could result from upsetting (or offending) a man.
Even the questions Sheryl is given to ask the bachelors on The Dating Program (which millions of people watch on their TV sets) are sexist. As a result, she modifies them, inserts Einstein and Kant into the mix, and begins asking about things such as, “What is the difference between a boy and a man?” despite being told to smile and look pretty. Then there’s also the case of Laura (Nicolette Robinson)—a spectator in the crowd who recognizes Rodney as the man she saw with her friend Alison, who was later discovered killed on the beach—exemplifies how women are not taken seriously, as no one, including her fiancé, believes her when she claims Rodney is the murderer. “Do your f*****g job,” she yells at a cop, frustrated.
Kendrick never intended for her film to be violent, as evidenced by the fact that when Rodney begins killing his victims, the camera always cuts away. Instead, she is more interested in conveying the horrors that women face on a daily basis, which she accomplishes through the characters of Sheryl, Laura, and Amy. Despite its 1970s setting, Woman of the Hour highlights society’s treatment of women, which is highly relevant even now.
Woman of the Hour movie links: Letterboxd, Wikipedia
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