Cheap Stranger in My Bed (Video) (Larry Elikann) Price
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| CATEGORY: | Video |
| DIRECTOR: | Larry Elikann |
| THEATRICAL RELEASE DATE: | 01 January, 1986 |
| MANUFACTURER: | Republic Studios |
| MPAA RATING: | PG (Parental Guidance Suggested) |
| FEATURES: | Color, NTSC |
| TYPE: | Feature Film-drama |
| MEDIA: | VHS Tape |
| # OF MEDIA: | 1 |
| UPC: | 726697041088 |
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Customer Reviews of Stranger in My Bed
cross at the traffic lights This TVM directed by Larry Elikann isn't as exploitative as the title suggests. Based on the presumably true life story of Beverley Slater, it has a teleplay by Audrey Davis Lenin based on the book by Slater and Frances Spatz Leighton. Slater played by Lindsay Wagner here suffers brain damage with "permanent personality change" after being in a car accident, with Wagner's change being presented by a butch haircut and colorful wardrobe. The resulting amnesia effectively wipes the 15 year history of her marriage to Armand Assante and their 2 children. The treatment includes some positive aspects to the change by mentioning faults of Wagner's past life, and also Assante's resentment of Wagner's loss of memory as his problem. It's actually an interesting study of what it takes to prolong a long term relationship, to keep the other partner interested and not take them for granted. Lenin can be fogiven for the occasional cliche like "They marched into hell and back", there is a Hallmark touch when Wagner has to choose between two gorgeous men who both want her, though her being able to drive comes across as odd when otherwise she needs process cards to complete tasks. Elikann uses a beautiful music score by Laurence Rosenthal to add poetry, psychological depth and emotion to proceedings, as well as a clip from William Wellman's 1937 A Star is Born. In spite of his standard pigeon-macho acting, Assante is a model of patience and consideration, his yelling contextualised,and plenty of his beef on display. The scene where he strips for Wagner has a camp quality as we wait for her approval. Occasionally we are aware of how Wagner is lit - it seems she has a Dietrich key-light - but Elikann doesn't ask too much of her. Although she doesn't have the skill to flood her role with feeling or technique, her likeability helps her play someone in a reflective state.