Anna Kendrick, known for her comedic timing and musical talent, takes a dramatic turn in her directorial debut, Woman of the Hour. This film isn’t your typical true crime thriller; it dives into the disturbing story of Rodney Alcala, a serial killer who appeared on The Dating Game amidst his horrific crimes. Kendrick’s film masterfully interweaves Alcala’s story with those of his victims, offering a chilling exploration of societal misogyny, the normalization of violence against women, and the systemic failures that allowed a predator to thrive.
A Haunting Symphony of Triumph and Terror
Woman of the Hour‘s climax delivers a powerful, yet unsettling resolution. While teenage runaway Amy (Autumn Best) escapes Alcala’s clutches (Daniel Zovatto) and ultimately leads to his arrest, the victory feels incomplete. The film’s final moments, a tortured gasp cut short, leave the audience with a profound sense of unease. Kendrick has stated that this haunting ending was inspired by the unresolved dissonance in Stephen Sondheim’s Into the Woods. It mirrors the flawed nature of Amy’s survival; it’s not a fairytale ending, but a stark reminder of the ongoing threat Alcala posed, as the end credits reveal his subsequent release on bail and continuation of his killing spree.
Beyond the Killer: Unmasking Societal Complicity
Woman of the Hour is not simply a biopic of a monster; it’s a searing indictment of the culture that allowed his crimes to flourish. The film’s narrative structure jumps through time, interweaving Alcala’s crimes with the lives of the women he terrorized. This non-linear approach amplifies the horrifying reality of Alcala’s actions and underscores the film’s commentary on societal complicity in violence against women. Screenwriter Ian McDonald emphasizes this point, stating that the film’s focus is not solely on Alcala, but on the systemic issues that enabled him. Laura (Nicolette Robinson), who recognizes Alcala on The Dating Game, embodies the voices that attempted to raise the alarm but were tragically ignored.
A 70s Narrative Resonates in the Modern Age
To make a story steeped in the 1970s resonate with contemporary audiences, the filmmakers took a thoughtful approach. While remaining faithful to the core events, they modernized dialogue and nuanced certain plot points. Sheryl Bradshaw’s character (Kendrick) is a prime example of this adaptation. In the film, she actively challenges the pervasive sexism on the set of The Dating Game, embodying a contemporary woman’s fight against deeply ingrained societal norms.
The Landscape of Despair and Fleeting Hope
Alcala’s reign of terror ends in the desolate desert landscape, a recurring visual motif throughout the film. The desert becomes a powerful symbol, representing both the vastness of life beyond Alcala’s violence and the profound isolation his victims experienced. Kendrick’s use of landscape adds another layer to the narrative, contributing to an overwhelming sense of loss and the sheer scale of Alcala’s crimes.
Small Victories and the Unending Fight
While Woman of the Hour doesn’t shy away from the darkest corners of humanity, it also offers glimpses of hope and resilience. Sheryl’s story concludes with a quiet, yet significant triumph. She survives her encounter with Alcala and chooses a life away from the superficiality of Hollywood, showcasing her strength and agency in redefining her future. Her final confrontation with her neighbor underscores her newfound empowerment, a testament to the indomitable spirit that survives even the most horrific trauma.
Woman of the Hour transcends the boundaries of a typical thriller. It’s a profound statement on the systemic issues that perpetuate violence against women. The film’s haunting, Sondheim-inspired ending serves as a stark reminder: achieving justice is rarely simple, and the fight for safety and security is a perpetual battle.
