Any Second Now (1969)
There is no confrontational message here in this horrid TV movie. Barely tolerable characters are perpetually incoherent in this dim boring mess. A playboy husband and his rich wife head off on a holiday. A secretary is coming to help the wife. This is full of narrative shortcomings and storytelling deficiencies.
The repugnant clod husband is a photographer and a dilettante. There are no naturalistic performances. The wife holds the clod in holy reverence, despite their fractious relationship. He is all lies and shiftiness and is not quietly sinister. This was not intriguing. The husband meets a woman at a party and demands to know if she’s married like a blank eyed lunatic. There are no intimate emotions as he cheats.
This had no catty, sassy wit. This was not thrillingly imaginative. The wife and husband have boring close-quartered interaction. There is no eerie efficiency or rediscovered affection. This was not bold or ambitious. This was not endlessly fascinating. The acting is bad. The man plans to murder his rich wife after she discovers his adultery and plans to divorce him.
The wife doesn’t die, the secretary who suddenly showed up dies instead and there is a case of mistaken identity. The medics think the wife is the secretary. The wife has amnesia and her memory could come back any second now. How is the identity swap even plausible? Didn’t the secretary have her passport? There is no constant feeling of menace or impending danger.
The husband’s mistress is a skank and somehow vanishes from the plot. This was not grimly realistic. The husband is selfish, greedy, heartless and cold. This was just terrible, with no depth, intelligence or wit. The wife resignedly sits in the rest home under the wrong name. The husband obsesses over her and there is no tenderness or intimacy. Nobody finds this odd in any way. The husband has complete and total cynicism.
The husband lives without consideration of consequences. The wife was a simpering, oblivious, annoying, cloying fool. Nobody has grit or character. How does nobody know what his wife looks like? This was not salacious. Where are the passports or ID? The husband mutters about a long distance phone call. This was contrived. Everyone has a blank persona. There are no newspaper reporters looking into the death of a rich woman? The father in law shows up. The husband yells and is screechy and ignores the funeral. Nobody finds it odd. The husband heads off to the rest home. Nobody finds it odd that the death of his ‘wife’ is shrugged off along with her funeral and that he is obsessing over a secretary. Lurid ugly clothes are worn. The perfidious husband mutters darkly. This was gloom core. The wife has befuddlement.
“I wouldn’t know I’m from Iowa.”
“A stamp of approval.”
“This poor woman.”
“The sea has danger!”
The Prime Of Miss Jean Brodie (1969)
Steel and Lace (1991)
A tale of moral decay and a killer robot. No.
Has callous disregard for sense.
The Dark Mirror (1946)
The tale of an evil twin and an ink blot test.
Revenge Of The Stepford Wives (1980)
Killer In The Mirror (1986)
This TV movie is full of overtly melodramatic tones and has basically the exact same plot as ‘Ringer’.