sol- Revisited by a man who fled after sexually assaulting her, a strong-willed woman is forced to consider her actions (given that the police told her before that it is her word against his) in this gritty thriller based on a successful stage play. The movie gets off to a superb start with a creepy, horror style music score and effective point-of-view shots as the man stalks her at night. This first act is, however, the clear highlight of the movie. The second act is pretty decent too with the two protagonists scurrying about her house and him dragging out the potential rape to nail-biting extremes. The ease with which he enters the house never quite feels right though and occurring during the daytime, the second act is not as spooky as the first act, but it is still gripping. Everything falls apart though in the haphazard third act with usually reliable actresses Diana Scarwid and Alfre Woodard turning in very melodramatic performances as lead actress Farrah Fawcett's best friends. While the third act is clearly meant to be the film's moral compass, it lacks the juiciness of the first two acts, which are an intense combat of two minds: would-be rapist versus potential victim. Whatever the case, Fawcett is certainly very effective here in the only theatrical motion picture to ever nab her a Golden Globe nomination, plus the film has a terrific mood-setting theme song by Bonnie Raitt.

shaman1969 I remember first seeing this movie back in the late 80s and I thought it was amazing.I just recently bought the DVD and watched it again. I think its an excellent movie with great performances by Farrah Fawcett and James Russo but I felt that the ending was a bit of a let down.I am amazed how some reviewers have commented that it was exploitative.Seriously you really need to get out more. I have seen plenty of rape/revenge movies that were way more exploitative than this.I Spit On Your Grave aka Day Of The Woman is one example.I thought the movie explored the issue of rape and/or sexual assault and how the legal system often leaves the victim feeling powerless very well.Okay she is not actually raped but at the beginning of the movie her attacker holds a knife to her throat and forces her to touch his genitals.Even though that is not actual rape it is still sexual assault. A thought provoking movie that I highly recommend despite the weak ending.

Michael O'Keefe Attractive Marjorie(Farrah Fawcett)lives in fear after being accosted by a lone biker. She is mortally shaken with the fact her attacker knows her address. As expected, Joe(James Russo), the attacker forces his way into Marjorie's home and subjects her to humiliating terror. Bruised and bloody, Marjorie manages to get an upper hand on her attacker, knocking the living daylights out of the jerk and renders him helpless thanks to wasp spray in his eyes and throat. Hog tied and battered himself, Joe tries to explain himself to Marjorie's roommates(Diana Scarwid and Alfrie Woodard) when they get home. There is almost a hint of mercy, but it is not coming from Marjorie. Should she continue to render her own punishment? Violence, sexual abuse and rough language makes for an R rating. Fawcett really gets away from the ditsy roles that would forever stain her career. Kudos to director Robert M. Young.

Woodyanders Marjorie (a splendid and riveting performance by Farrah Fawcett) narrowly avoids being assaulted in her car by vicious serial rapist Joe (superbly played with frightening conviction and intensity by James Russo). However, Joe steals her wallet and finds out where Marjorie lives. He pays her a visit one fateful day. After subjecting Marjorie to plenty of degradation and psychological abuse, Marjorie manages to turn the tables on Joe and locks him in the fireplace. What is Marjorie going to do with Joe? Director Robert M. Young and screenwriter William Mastrosimone concoct a harsh, gritty and often disturbing morality tale that astutely nails the stark brutality and painful debasement of rape while also showing how any person when pushed to extremes is capable of shocking acts of violence and inhumanity. Joe perceives women strictly as objects while Marjorie only sees Joe as an "animal." However, this movie to its admirable credit refuses to make Joe out to be simply a vile one-dimensional creep; instead he's a terrifyingly real and ultimately pitiable human monster with a wife and kid (Joe's climactic confession in particular is genuinely poignant). Fawcett and Russo are both outstanding in the leads; they receive fine support from Diana Scarwid as the passive Terry, Alfre Woodard as the sensible Patricia, and Sandy Martin as sympathetic policewoman Officer Sudow. Both Curtis Clark's agile cinematography and J.A.C. Redford's shivery, skin-crawling score greatly enhance the considerable claustrophobic tension. A real powerhouse.