Disregard the relatively low score and negative comments. MOUSEY is one of the best made-for-TV suspense/horror films of the '70s, and that's saying something.
The film is taut from beginning to end....the sort of sustained low-key tension that keeps you on edge and engrossed, but rarely provides jump-out-of-your-seat moments. The alternate title, CAT AND MOUSE, is more apposite, for that's the game Kirk Douglas's character is playing throughout. How he outwits his ex-wife, her new husband, and their crew of private investigators is wonderfully entertaining.
Douglas's performance is a well-judged balance of pathos, dementia, and understandable spite, that ably evokes sympathy from the viewer. The remainder of the cast is not particularly noteworthy, but the other actors aren't given much to do anyway. It's Douglas's show.
The film's only other liability (minor as it is), aside from the odd snippet of painfully trite expository dialogue, is the music score. It isn't awful, but it doesn't do much to accentuate the suspense at key moments, and the same melancholy theme is repeated a little too often. Director Daniel Petrie's craftsmanship, however, is flawless and understated.
The thrilling conclusion of MOUSEY, a sequence of events that uncannily recalls the memorable, allegedly precedent-setting "call-tracing" scene from the estimable BLACK CHRISTMAS (1974), actually predates its more famous cousin: "Mousey" was broadcast on TV just weeks before "Black Christmas" started filming. Coincidence?
The film is taut from beginning to end....the sort of sustained low-key tension that keeps you on edge and engrossed, but rarely provides jump-out-of-your-seat moments. The alternate title, CAT AND MOUSE, is more apposite, for that's the game Kirk Douglas's character is playing throughout. How he outwits his ex-wife, her new husband, and their crew of private investigators is wonderfully entertaining.
Douglas's performance is a well-judged balance of pathos, dementia, and understandable spite, that ably evokes sympathy from the viewer. The remainder of the cast is not particularly noteworthy, but the other actors aren't given much to do anyway. It's Douglas's show.
The film's only other liability (minor as it is), aside from the odd snippet of painfully trite expository dialogue, is the music score. It isn't awful, but it doesn't do much to accentuate the suspense at key moments, and the same melancholy theme is repeated a little too often. Director Daniel Petrie's craftsmanship, however, is flawless and understated.
The thrilling conclusion of MOUSEY, a sequence of events that uncannily recalls the memorable, allegedly precedent-setting "call-tracing" scene from the estimable BLACK CHRISTMAS (1974), actually predates its more famous cousin: "Mousey" was broadcast on TV just weeks before "Black Christmas" started filming. Coincidence?