As a woman who grew up in the era of “The Dating Game” and its sleazy, smirky counterparts, I can’t help but feel a deep sense of unease when I reflect on this chilling tale. The story of Rodney Alcala, a serial killer who slipped through the cracks of our society’s flimsy defenses, is a stark reminder of how dangerous the world could be for women even in seemingly innocuous situations like a game show.
On September 13, 1978, a chilling event unfolded on daytime television. The contestant on “The Dating Game” who turned out to be a notorious serial killer was Rodney Alcala. He was apprehended the following year and convicted of five murders, though it’s estimated that he may have committed as many as 130. With his 1970s heartthrob looks and charisma reminiscent of the Hudson Brothers or Engelbert Humperdinck, Alcala was the epitome of a ’70s ladies’ man. However, beneath his charming demeanor lay hidden aggression that was subtly visible in his confident, yet aggressive responses during the “Dating Game.
Television shows don’t often get more campy than “The Dating Game.” As a child, I used to watch it, finding it fascinating that the entire program, with its vibrant Herb Albert-inspired theme music and psychedelic decor, was essentially a suggestive, wink-filled spectacle that didn’t try to hide its true nature. (It was the first show I encountered that seemed to embody the seedy culture of Los Angeles.) I always felt the most awkward moment every episode occurred when the selected bachelor emerged from behind the partition, shared a polite kiss with the bachelorette as customary, and then stood there, wrapped in each other’s arms, while host Jim Lange detailed their upcoming date (usually an expense-paid trip to someplace like Tucson, Arizona!), making it seem as if they were already a couple.
In simpler terms, “The Dating Game” can be described as the “Bachelorette” of its era. Interestingly, a notorious serial killer, who belonged to the category of Ted Bundy-like killers (appearing normal and attractive, using his charm to ensnare women he would later assault and murder), actually appeared on this show. This event, at once astonishing and chilling, represents a significant moment in television history, serving as both an absurdity and a horror. Moreover, it symbolizes the hidden dangers that the “dating game” presented for women during the sexual revolution era, making it a far more treacherous activity than it initially appeared.
“Woman of the Hour” depicts a real-life suspenseful tale centered around Rodney Alcala, an unusual blend of social, cultural, and criminal events that can only happen in America. Anna Kendrick directed her debut film (her initial attempt behind the camera), using a script penned by Ian McDonald, and she also plays Cheryl Bradshaw, an aspiring actress struggling at low-budget film auditions. When her agent sets her up for a bachelorette on “The Dating Game,” Cheryl views it as a chance to gain visibility despite considering the show inferior.
In his directorial role, Kendrick Lamar navigates through the ’70s, portraying several encounters and crimes of Rodney Alcala. Daniel Zovatto portrays Alcala, skillfully capturing the soft-rock earnestness, but then his eyebrows furrow and the smile vanishes, replaced by a simmering, quiet rage. During this era, Alcala, sporting long hair and a leather jacket, is a photographer, using his bohemian credibility as both a lure and a cover for his homicidal intentions. Men with cameras and an artistic eye were perceived as potential stardom-makers during this time. Alcala, who prefers his victims young (occasionally underage), persuades them to pose, which makes them relax their defenses, allowing him the opportunity to strike. While these scenes are impactful, they lack the intricate, captivating curiosity found in “Extremely Wicked, Shockingly Evil and Vile,” a Ted Bundy drama starring Zac Efron.
The crux of this film revolves around the “Dating Game” segment, yet I couldn’t help but feel that Kendrick over-emphasizes certain points in her narrative. She repeatedly references Rodney Alcala on “The Dating Game” and emphasizes these instances. She underscores that the show is more than just a game – it’s a relentless, predatory environment. The women are subjected to suggestive comments onscreen, while the host, named Ed Burke in this adaptation, is portrayed as aggressively hostile offscreen. It seems significant that Kendrick chooses to portray Cheryl not as the flirtatious and affectionate character she seemed on the show – a role the women were instructed to play – but as a shrewd, almost rebellious figure who refuses to become someone’s object of desire.
In “Woman of the Hour,” director Cheryl not only skillfully plays her character who probes questions, but also cleverly flips the script of “The Dating Game” in a nearly post-modern fashion. Instead of striving for period-piece authenticity, this production aims to dismantle television itself and expose the underlying male aggression that sometimes escalates into violence. It seeks to illustrate their interconnectedness.
In the crowd, there’s a woman named Laura (Nicolette Robinson), who experiences a shiver of recognition upon spotting bachelor #3 as Alcala. This is because she was acquainted with one of his victims, and had attempted to report him to the police, but her efforts were fruitless. However, this aspect of the movie is its least compelling point, as it presents an underdeveloped drama that seems both vague and overly obvious. (In other words, there were numerous tips given to the police about Alcala, yet he managed to slip through their fingers.)
The most compelling scene in the movie unfolds post-broadcast, as Rodney persuades Cheryl to accompany him for an impromptu outing (drinks at a seedy bar) prior to their scheduled date in Caramel, CA. Their verbal sparring is tense and eventually turns chilling when they find themselves in a parking lot. In reality, Cheryl and Rodney never had their “Dating Game” rendezvous because she sensed something amiss about him. The film’s climax, where Alcala gets apprehended and outsmarted by a victim skilled in manipulating his ego, is gratifying. However, if “Woman of the Hour” portrays an unusual instance where American violence surfaced beneath the veneer of sanitized television programming, the movie lacks depth as it tends to draw all its thematic connections for the audience.
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2024-10-19 09:16