Herb Freed(Graduation Day;Beyond Evil)directs this psychological melodrama(..with elements of a slasher) regarding the effects on a small town, and especially troubled Ingrid(May Britt), as a sexual predator stalks vulnerable women at night with a pair of scissors after raping them. Ingrid is *haunted* by memories from childhood regarding finding her mother dead in a bathtub and possible sexual abuse at the hands of "reliable" Uncle Carl(Cameron Mitchell, whose role is minor until the enigmatic ending where he supposedly returns to Ingrid's home where memories of his own resurface after being away for a while). It seems that Ingrid is being stalked by the town stud, Frankie(William Gray Espy), who even rapes her in her own bedroom, holding scissors to her throat. Ingrid is a deeply devout Catholic who is suffering hallucinations thanks to her past(..blood is a constant)and seems incredibly uncomfortable around men. Husky voiced, alcoholic sheriff(Aldo Ray)is truly puzzled about the attacks plaguing his once quiet, sleepy little town, and is quite concerned for his citizens, innocent women who might venture out at night alone. Trying to sober up, the sheriff will attempt to find the killer, keeping his deputies on alert, watching the country roads and neighborhood streets at night, hoping to catch him in the act. Meanwhile, Ingrid battles with her conscience and religious convictions after being raped. The film also subtly hints at the idea that her mysterious Uncle Carl might be the one responsible for the attacks. Also, a mannerly, soft-spoken stranger from Baltimore, Bill Spry(Robert Hippard)enters town hoping to date Ingrid, who seems little interested in making relations with any man.
Director Freed and collaborative writer Anne Marisse craft a very tricky tale here which takes it's time building the attacks around Ingrid's story. The attacks themselves really are the Macguffen as the film centers around Ingrid, and serve to actually heighten her trauma. Through the surrounding attacks in town, Ingrid, slightly stable on a slender thread, goes off the deep end with the scissor-murders influencing her hostile fantasies. The film seems to have three endings. The police cornering the sexual sadist in a saw mill. Ingrid's confrontation with Frankie as a bound Carl tries to free himself. And, Ingrid's fate and the reactions from the sheriff and Carl relating the truth to the viewer. Freed doesn't hurry himself and the film takes it's time developing so it might can become tedious for some viewers(..such as choir practice and a bar conversation between Spry and a local gal-pal of Ingrid's who is a potential victim). I think one might also find the last thirty minutes tiresome due to the complexities of Ingrid and what is real and imagined. I found it worthwhile and thought Britt's performance was a stunner. The score from Pino Donaggio really adds quality to the tragedy ever so present throughout the film. Freed does an exceptional job incorporating Ingrid's memories within her life at the present, with Donaggio's somber music adding the right touch at reflecting her deteriorating mental state.
Director Freed and collaborative writer Anne Marisse craft a very tricky tale here which takes it's time building the attacks around Ingrid's story. The attacks themselves really are the Macguffen as the film centers around Ingrid, and serve to actually heighten her trauma. Through the surrounding attacks in town, Ingrid, slightly stable on a slender thread, goes off the deep end with the scissor-murders influencing her hostile fantasies. The film seems to have three endings. The police cornering the sexual sadist in a saw mill. Ingrid's confrontation with Frankie as a bound Carl tries to free himself. And, Ingrid's fate and the reactions from the sheriff and Carl relating the truth to the viewer. Freed doesn't hurry himself and the film takes it's time developing so it might can become tedious for some viewers(..such as choir practice and a bar conversation between Spry and a local gal-pal of Ingrid's who is a potential victim). I think one might also find the last thirty minutes tiresome due to the complexities of Ingrid and what is real and imagined. I found it worthwhile and thought Britt's performance was a stunner. The score from Pino Donaggio really adds quality to the tragedy ever so present throughout the film. Freed does an exceptional job incorporating Ingrid's memories within her life at the present, with Donaggio's somber music adding the right touch at reflecting her deteriorating mental state.