The Caller (1987)

The Caller: Directed by Arthur Allan Seidelman. With Malcolm McDowell, Madolyn Smith Osborne. One night, an odd stranger in need asks a woman living alone in a house in the woods if he can use her phone. It soon becomes clear that they’re playing a strange mind game and that there’s something unnatural about their interactions.

“An undeservedly forgotten little feature by Empire Pictures. Where has this one been hiding? Instead of relying heavily on special effects, u0026#39;The Calleru0026#39; sticks to an audaciously thought-provoking screenplay and confidently notable performances by its only two, but spellbinding cast members Malcolm McDowell and Madolyn Smith-Osborne.u003cbr/u003eu003cbr/u003eA young lady living in the woods waiting for her guest to arrive for dinner is being unknowingly watched. Thereu0026#39;s suddenly a knock at the door, but itu0026#39;s a mysterious man who wants to use her phone as his had a car accident. But what follows on from that leads to the two questioning each otheru0026#39;s motives and the true meaning of their encounter.u003cbr/u003eu003cbr/u003eIt would be an understatement if I called it strangely unconventional, as nothing seems quite what it is and due to that nature itu0026#39;s plain gripping. Watching the battle of wills and wits between McDowell and Smith is brought across with pure intensity, bold authenticity and a touch of sinisterness. As one thinks they have the upper hand, soon it comes crashing down, but the mind games still flow. The true intentions is mystifying on whatu0026#39;s going on with these fabrications, up until the unhinged climax (where I can see why it could be a turn off or disappointment of some sort) that really does throw you of course and lands you back at square one. Thereu0026#39;s no-way any one can find this calculative fodder predictable. Michael Sloaneu0026#39;s enduring story is cerebrally crafted as while itu0026#39;s talky, the twisty nature is well observed in its details of the plot and characteru0026#39;s progression. The verbal confrontations rally up the unbearable tension and emotional drive. How it plays out is like something out of a stage show and Arthur Allan Seidelmanu0026#39;s tautly measured direction lends to that magnifying atmosphere. You truly get the sense that thereu0026#39;s on one else about, other then these two (nameless) characters. McDowellu0026#39;s quietly edgy turn is hypnotic and Smithu0026#39;s neurotically vulnerable persona is creditably delivered. Watching these two steadfast performances and their chemistry together was fantastic. The remote woodland setting adds to the isolated and uneasy style of the feature. Richard Bandu0026#39;s score is minimal, but titillatingly subtle and eerie.u003cbr/u003eu003cbr/u003eAn oddly disorientating and elaborate, if simulating addition to Empire Pictures.”