The film delivers a horrifying retelling of a serial killer’s appearance on “The Dating Game”
By ANA BACH —- arts@theaggie.org
If you haven’t been spooked enough this Halloween season, Netflix recently came out with a thriller that will surely deter you from ever going on a blind date. Anna Kendrick’s directorial debut, “Woman of the Hour,” features the horrifying true story of a serial rapist and killer’s appearance on the ‘70s dating show: “The Dating Game.”
The film focuses on a 1978 episode of the show, featuring Rodney Alcala as one of the eligible bachelors. Alcala was described as a successful photographer, but unbeknownst to the public and police at the time, was also a serial rapist and murderer. Kendrick’s character, Sheryl Bradshaw, is a struggling Los Angeles actress and contestant on the dating show — who, impressed by Alcala’s respectful answers, ends up choosing him as her date.
Aside from the unsettling true nature of the story, the film weaves in law enforcement’s role in the situation, dismissing several allegations prior to his appearance on the show. Not pursuing these leads allowed Alcala to repeatedly strike, claiming the lives of over 100 hundred young girls and women. Kendrick heavily leans into that short time between having a feeling of unease and the immediate realization of when that fear becomes real.
One scene in particular shows the two on their date at a local Tiki bar. She immediately becomes uncomfortable when Alcala suggests that they should have another round of drinks, even though she said no the first time. Fortunately, she conveys her disinterest to the waitress who is serving them, who tells Alcala that they had “just missed last call.”
The real fear comes after the date when Bradshaw gives him a fake number outside of the restaurant’s dark and empty parking lot. As they say their goodbyes, Alcala calls out to her and asks if she can repeat the number back to him, claiming that sometimes the sixes and nines start to look alike. After not being able to repeat the number back to him, Bradshaw begins to walk back to her car, with Alcala trailing not far behind. This scene is one of the most chilling parts of the film, as the viewer is simultaneously taking on that stress and pleading that she will make it to her car alive. Luckily, she does and ends up leaving the LA area for good.
Kendrick’s rendition of the story skillfully works in the aspects that made the case such a spectacle. Surrounded by lights and cameras on “The Dating Game,” the notion of putting on a show is ever present. We see Alcala’s charisma and intelligence shift to a character that is life threatening once the cameras are turned off. Rather than sensationalizing the tragedy, Kendrick flips the script toward a victim-focused and woman-centered plot, prioritizing the character of those affected by the crimes.
Kendrick post production told the L.A. Times that she was “seeped in some really valid ethical questions around true crime.” She said that she planned to give her cut from the film to the Rape, Abuse and Incest National Network and the National Center for Victims of Crime. Both organizations confirmed that Kendrick made donations and expressed gratitude to her on behalf of the organization as well as its survivors. If you are looking to watch another thriller this season and Kendrick’s directorial debut, check out “Woman of the Hour” on Netflix.
Written by Ana Bach — arts@theaggie.org
