David
02-02-2010, 11:10 AM
Penny Edwards (Claudia), John Alvin (Eddie), James Millican (Hans),
Directed by Philip Ford
"When vicious criminals cross THIS bad-ass bride's threshold - it's time
to settle the score!" So might read the lurid poster for a trashy 70s remake of 'Missing Women' - an engrossing and likable 'B' thriller that
though misleadingly titled represents a refreshing twist on the 'undercover peril' noir sub-sub-genre.
Married just an hour, young Claudia and Philip Rankin's blessed bond
is violently severed when they are jumped by car thieves along a dark roadside. Suffering both an unwanted kiss and subsequent sucker-punch to the face by vile thug 'Hans', a dazed Claudia enlists a passerby to send help for Philip who lay dying nearby from the gunshot wound he sustained while attempting to defend his new bride.
Seemingly disinterested in sitting idly by or in letting the authorities do what they're paid to, Claudia chooses to navigate the dangerous
waters of the underworld on her own - insinuating herself into 'the life' with an alias, a dye job, some vampy clothes, and a couple contact names remembered from police files she was shown. Locating and coming face to face with Hans and co. will be risky, but Claudia is now single-minded of purpose.
Not unlike the 'Kansas' character in Siodmak's 'Phantom Lady' ('44),
Claudia Rankin morphs from girl-next-door into intrepid justice-seeker - in the name of love, and with nary the bat of an eyelash. Lingering close-ups of her face as she tosses and turns in bed - the notion of launching her own amateur investigation weighing heavily upon her mind - would've fleshed things out nicely, but simply aren't included. Low budgets mean streamlined screenplays, and 'Missing Women' wastes no time in setting the stage for no frills-thrills - it's fresh-faced, soft-spoken leading lady
bringing an endearing blend of pluck and vulnerability to the role
of a shell-shocked widow who vanishes from society (hence the title) to re-invent herself as pre-Charles Bronson avenging angel.
Directed by Philip Ford
"When vicious criminals cross THIS bad-ass bride's threshold - it's time
to settle the score!" So might read the lurid poster for a trashy 70s remake of 'Missing Women' - an engrossing and likable 'B' thriller that
though misleadingly titled represents a refreshing twist on the 'undercover peril' noir sub-sub-genre.
Married just an hour, young Claudia and Philip Rankin's blessed bond
is violently severed when they are jumped by car thieves along a dark roadside. Suffering both an unwanted kiss and subsequent sucker-punch to the face by vile thug 'Hans', a dazed Claudia enlists a passerby to send help for Philip who lay dying nearby from the gunshot wound he sustained while attempting to defend his new bride.
Seemingly disinterested in sitting idly by or in letting the authorities do what they're paid to, Claudia chooses to navigate the dangerous
waters of the underworld on her own - insinuating herself into 'the life' with an alias, a dye job, some vampy clothes, and a couple contact names remembered from police files she was shown. Locating and coming face to face with Hans and co. will be risky, but Claudia is now single-minded of purpose.
Not unlike the 'Kansas' character in Siodmak's 'Phantom Lady' ('44),
Claudia Rankin morphs from girl-next-door into intrepid justice-seeker - in the name of love, and with nary the bat of an eyelash. Lingering close-ups of her face as she tosses and turns in bed - the notion of launching her own amateur investigation weighing heavily upon her mind - would've fleshed things out nicely, but simply aren't included. Low budgets mean streamlined screenplays, and 'Missing Women' wastes no time in setting the stage for no frills-thrills - it's fresh-faced, soft-spoken leading lady
bringing an endearing blend of pluck and vulnerability to the role
of a shell-shocked widow who vanishes from society (hence the title) to re-invent herself as pre-Charles Bronson avenging angel.