Hellen I like the storyline of this show,it attract me so much

Verity Robins Great movie. Not sure what people expected but I found it highly entertaining.

Ezmae Chang This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Ortiz Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

classicsoncall Rod Steiger makes for an effective serial killer in this late Sixties flick, described by a police detective later in the story as displaying a 'paranoiac exhibition of mother hate'. I thought Morris Brummel's (George Segal) sixth victim ruse was pretty clever in getting the maniac to go off his stride and set himself up for capture. However in the one scene at the bar in which the disguised-as-a-woman Gill (Steiger) was picked up by the buxom saloon gal - what was Brummel's rationale in following them to the apartment next door? There wasn't any logical reason to my mind why he should have suspected anything was up with those two, even after questioning the bartender. That one didn't make sense to me.Though never mentioned by name, I thought the reference to Christopher Gill's Oedipus complex was cleverly referred to in the museum scene with the statue of Oedipus and Antigone. The story didn't delve into Gill's background very effectively otherwise, the fact that he had inherited the family theater business didn't add much to explaining his murderous tendencies. The cops did a better job of bringing him out with planted stories of his being a sexual pervert, and of course that sixth victim business.Keeping an eye on the street scenes during the race to Kate Palmer's (Lee Remick) apartment, I caught two marquees displaying the titles "The Born Losers" and "Pink Pussy". The first picture was a Tom Laughlin/Billy Jack movie, but I was pretty sure I wouldn't get an IMDb hit for the second. But lo and behold, it turns out that it was a 1964 Venezuelan film with New York City scenes added a couple years later for an American release. So the timing in this movie worked I guess. If you take a quick look, there's even a single review for the picture, which is probably all you need, since getting a hold of the flick is probably impossible.Anyway, this was an okay thriller that could only have gone one way in the resolution, so you had to get some entertainment value out of the handful of humorous scenes offered. The Kupperman (Michael Dunn) confession was a sketch, but the scene that just killed was when Kate Palmer met Brummel's Jewish mother and deadpanned her way through an entire critique of Mrs. Brummel's (Eileen Heckart) 'other son Morris' - "With a son like Franklin, you don't mind having this one so much"!

inkslayer When Jewish Detective Mo Brummel (George Segal) isn't hunting down a serial killer (Rod Steiger), Mo's momus mother (the talented Eileen Heckart) is shoving food across the table to him whining, "Eat!"Well-scripted for its time, the story still holds up even today. Nothing is contrived. From the manipulating the newspapers so the police can smoke out their man to the verbal snipe at a homosexual. This was life in the 60s! If you grew up in New York you'll applaud writers Gay and Goldman for capturing the Jewish-ness of their characters. Either you had relatives like the Brummels, or they lived as neighbors in the same building you did, but live they did! New Yorkers will love the city street scenes and recognize many establishments like Sardi's and Merv Griffin's studio next door to it. And Lee Remick's funky 60s pad brings back memories of jaunty women caught up in the "new scene." A little disappointing is Lee Remick's character. Perhaps her character development got left on the cutting-room floor? Mrs. Brummel's conniption's over her son's dating a shiksa is right on, and funny.Steiger is a true master of mental disguise.Segal is the perfect mamma's boy, as well as a hard-working sleuth.A nice balance of humor and drama.A clever way to show off New York.Steiger probably would have won an Oscar for his role in NWtTaL if he hadn't received the Oscar the year before for his role in In the Heat of the Night.

luckyunicorn If you've read the William Goldman novel, and expect this to be a faithful adaptation, fergit about it. But if you don't care about that and take your pleasure where you can, this is great! The big, lumpen, horribly scarred detective of the novel is played by a young, sassy George Segal (Bagsy Vincent D'Onofrio with prosthetics if they remake it),and Lee Remick has never looked more beautiful as the love interest who is so tragically slain in the book, and remains very alive and barely bruised at the end of the flick. Guys, check out the transparent yellow dress she wears in her first scene.....It's got a kind of Theatre of Blood thing going on, as Rod Steiger (looking weirdly like Richard Burton)hams it up outrageously in a variety of cunning disguises- limply taunting Mr Segal with rubbish clues to solving the murders and getting in the way of his romancing Miss Remick in a variety of photogenic New York locations.It's an amusing, colourful film with a starry cast, and I have no idea why it isn't regarded as a classic. Oooh, and check out David Doyle- Bosley from "Charlie's Angels"- as a hard ass police chief. Seriously.

elwileycoyote I turned this gem of a film on one afternoon having no idea what it was about. The opening scenes with Rod Steiger as an Irish priest calling on unsuspecting, soon-to-be victim Marline Bartlett was truly startling in its viciousness. Why have I never heard of this movie before and why has it been shelved all these years? This movie is definitely a cut above the rest in the genre of thrillers featuring serial killers. Rod Steiger is brilliant in a tour-de-force as he assumes various identities-- i.e., an Irish Priest, plumber and effeminate hair stylist--as a psycho on the loose who targets middle aged women and whose calling card is to draw a pair of lips in red lipstick on each victim's forehead. Steiger is pitted against underdog detective George Segal, who plays an overworked cop who gets no recognition for his work. Lee Remick plays the love interest who adds spice to the movie and supporting actress Eileen Heckart plays detective Segal's overbearing mother who bureates him for being a cop (and Jewish) every opportunity she gets. Heckart as the overbearing stereotypical Jewish mama is annoying, to say the least. Remick's character is a free spirit who gives museum tours and she is HIP! In fact, her dialogue suffers in part from an effort to be *too hip* and contemporary: in one scene she tells Segal, "I swinged, and I swang until I swung", in explaining a previous relationship. The most interesting victim plays a drag queen in a bar who is scorned by the other bar patrons and met with homophobic comments, but this was, after all 1968. All the acting is good, though the best scenes are those involving Steiger and his unsuspecting victims. One slight flaw is that the idea that the police department could control what the media prints and use it to manipulate the killer is a little too contrived, and the movie's ending is mediocre, doesn't satisfy and wraps it up too quickly. The scene involving Remick and Steiger is also contrived, and it's a little inconsistent with Remick's character that she would let a total stranger into her apartment, especially since she's dating a cop. In spite of the mediocre ending, this is an excellent movie.