The great granddaddy (grandmother?) of “roommate from hell” movies is director Barbet Schroeder’s (Reversal of Fortune) masterfully creepy Single White Female. Sheer perfection in its straightforward simplicity, Single White Female is a splendidly taut and entertaining thriller of escalating dread and suspense built upon two basic, highly-relatable human anxieties: sharing a living space with a total stranger, and wondering whether it’s possible to really know another person…even those to whom we are closest.
Fashioned as an intertangled character drama masking a mordant feminist critique—it can be argued that the entirety of the lead character's troubles arise out of the way society conditions women from an early age to harbor a fear of and resistance to being "single"; Barbet Schroeder’s Single White Female pairs the Roman Polanski urban paranoia thriller (Rosemary's Baby, The Tenant) with the Robert Altman personality-theft psychological melodrama (3 Women, Images) to chilling effect.
Fashioned as an intertangled character drama masking a mordant feminist critique—it can be argued that the entirety of the lead character's troubles arise out of the way society conditions women from an early age to harbor a fear of and resistance to being "single"; Barbet Schroeder’s Single White Female pairs the Roman Polanski urban paranoia thriller (Rosemary's Baby, The Tenant) with the Robert Altman personality-theft psychological melodrama (3 Women, Images) to chilling effect.
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| Bridget Fonda as Allison Jones |
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| Jennifer Jason Leigh as Hedra Carlson |
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| Steven Weber as Sam Rawson |
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| Peter Friedman as Graham Knox |
When an 11th-hour betrayal results in software designer Allison Jones kicking live-in fiancé Sam Rawson out of her rent-controlled apartment, our despondent, titular SWF hastily places a classified ad (against the better judgment warnings of friend and neighbor Graham Knox) for a roommate.
Enter Rizzoli Bookstore clerk Hedra Carlson; timid, sweet-natured, and studiously amorphous; she’s like a substance incapable of reflecting light, only absorbing it. Girlish and diffident in the face of Allison’s easygoing poise, resourceful where Allison is self-doubting and insecure, indistinct and shapeless to Allison’s urban sleek, the women are less an odd couple than strangely analogous opposites. Indeed, Hedra sees in Allison an image of a life she’d very much like to have. Literally.
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| Allison and Hedra From the Greek, Hedra is a word used in geometry to signify many faces |
In short order, roommates blossom into girlfriends (Hedy! Allie!), girlfriends bond as sisters, and sisterhood evolves into a kind of free-form female family unit into which the only male allowed is Buddy the dog. Sure, Hedra’s a little clingy, a tad furtive, maybe even a little too watchful (“(It's) like she's studyin’ ya. Like you was a play, or a book, or a set of blueprints!” – All About Eve); but for a time, each woman finds in the other what they are individually lacking. Allie gets a companion to help stave off her fear of being alone, Hedy finds someone who fills a deep, unarticulated emotional void.
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| Family Portrait Playing on the TV set behind them is the 1957 Rita Hayworth film Fire Down Below, about a friendship torn apart by romantic jealousy |
Although Single White Female features an abundance of intriguing subthemes: urban fear, feminine identity, lesbianism, sexual harassment, duality, women's tendency to invalidate female friendships in deference to men—Schroeder's uncluttered approach to the material and the film's familiar, easy-to-identify-with premise serves it extraordinarily well. The smart screenplay (adapted by Don Roos from John Lutz's 1990 novel SWF Seeks Same) simply lets the worst-case-rental nightmare scenario play out in accordance to the well-worn tropes of the classic stalker/suspense thriller, leaving plenty of room for the actors to fully and dimensionally inhabit their characters. The result is that instead of having the characters moved along by the demands of the plot, the characters themselves, as realized by the fine performances of Bridget Fonda and Jennifer Jason Leigh, dominate Single White Female.
As the film is structured, we know from the outset that the roommate situation will be problematic, just as we also know, this being a Hollywood thriller, that the central conflict must resolve itself with a sufficiently over-the-top, crowd-pleasing payoff: usually either cathartic (payback) or ironic (surprise twist). Thus, it's all the more appreciated that Barbet Schroeder manages to successfully subvert the plot's predictability by giving emphasis to the relationship between Allison and Hedra, making it feel authentic, while at the same time oddly discordant. The chemistry between these two women, vacillating between friendly, sororal, co-dependent, and adversarial...is the propulsive, compelling source of the film's suspense and considerably well-played chills.
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| The Happy Couple |
Happily, I think Barbet Schroder’s arthouse sensibilities fairly dominate the first two-thirds of Single White Female, effectively drawing the viewer into the psychological drama before the melodrama and genre predictability of the final third takes over. He successfully turns both the city and apartment building into participating characters in the story, stressing the film's duality themes and appearances-can-be-deceiving angle by making both New York City and Allison's apartment building look simultaneously inviting and sinister.
Barbet Schroeder displays such a sure touch with his handling of both the characters and the more rote aspects of the suspense thriller that the film’s third act, wherein Schroeder or the producers bow to the pressure to provide the ticket-buying public with the mayhem they crave, strikes the film's sole false note. While I have to concede that the violent conclusion is well executed and effectively delivers exactly what is expected of it (suspense, jeopardy, jump cuts); and there's no denying that it's an improvement over the sprawling, drawn-out ending of the source novel; I nevertheless can't shake the feeling that it is an ending more genre-mandated than organic to the subtle, insinuating menace characterizing the rest of the film. I enjoy the ending for what it is, but it wouldn't surprise me were it revealed one day to be the work of another director entirely.
"At least there's never a problem with privacy!"
Single White Female plays with the idea of strength and weakness, independence and helplessness. By all appearances Allison is the character who has her life together, but the film allows her to be the one to harbor some of the more deep-rooted flaws. She is the first roommate to invade the other's privacy, yet she's made uncomfortable by Hedra's at-ease-with-herself informality (specifically, when she undresses in front of her). In the end, the women bond over the affectionate gesture of exchanged housewarming gifts.
Single White Female plays with the idea of strength and weakness, independence and helplessness. By all appearances Allison is the character who has her life together, but the film allows her to be the one to harbor some of the more deep-rooted flaws. She is the first roommate to invade the other's privacy, yet she's made uncomfortable by Hedra's at-ease-with-herself informality (specifically, when she undresses in front of her). In the end, the women bond over the affectionate gesture of exchanged housewarming gifts.
Barbet Schroeder displays such a sure touch with his handling of both the characters and the more rote aspects of the suspense thriller that the film’s third act, wherein Schroeder or the producers bow to the pressure to provide the ticket-buying public with the mayhem they crave, strikes the film's sole false note. While I have to concede that the violent conclusion is well executed and effectively delivers exactly what is expected of it (suspense, jeopardy, jump cuts); and there's no denying that it's an improvement over the sprawling, drawn-out ending of the source novel; I nevertheless can't shake the feeling that it is an ending more genre-mandated than organic to the subtle, insinuating menace characterizing the rest of the film. I enjoy the ending for what it is, but it wouldn't surprise me were it revealed one day to be the work of another director entirely.
Single White Femalecombines two of my favorite film genres: the psychological suspense thriller and the identity-crisis/mind-meld melodrama. Perhaps because I looked to movies in my own quest for some kind of identity parallelism during my youth (I grew up a bookish, introverted, black gay male, living in a predominantly white neighborhood and attending a private Catholic boys school, the only boy in a family of four girls, with a hardworking but emotionally reserved father), I harbor a particular fondness for movies about people grappling with their sense of self. Even the first student film I ever made (a deservedly lost Super 8mm masterpiece that served as my admission application to the San Francisco Art Institute) was a movie about a man haunted by his doppelganger.
Single White Femaleis a thriller first and foremost, a genre nail-biter calculated to deliver consistent chills. But in the way it seriously cranks up the fear factor by delving into the dark side of duality and the elemental search for self, it reminds me a great deal of so many of my most beloved identity-merge films: Persona (1966), Dead Ringers (1988), Les Biches (1968), Performance(1970), Mulholland Drive (2001), Vertigo (1958), and Black Swan (2010).
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| When Imitation Ceases To Be The Sincerest Form Of Flattery |
But no matter how extreme the mirroring, each of us relies on the existence of subconscious boundaries of individual identity to prevent us from ever completely losing ourselves to, or getting completely lost in, others. No such boundaries exist in Single White Female.
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| Femme Fatale |
THE STUFF OF FANTASY
An innovative director with a strong visual style and a comprehension of cinema language is a boon to any film, but such gifts are especially welcome in a genre flick. While there are many directors who’ve distinguished themselves through their association with a particular type of film: Ernst Lubitsch (comedies), John Ford (westerns), Alfred Hitchcock (suspense thriller), John Carpenter (horror); most would contend that plot-driven, trope-reliant films, whose structures require a conformity to brand, don't always leave a lot of elbow room for artistic expression.
Premise and setup are the stars of the suspense thriller, the director earning accolades only to the extent to which their talents contribute to the successful realization of the narrative’s requisite “payoffs”: surprise, scares, intensity, suspense, etc. Mind you, this isn’t easy, and any director capable of pulling off an effective thriller deserves credit, but the thrillers that tend to stick with me are the ones which manage to follow the genre dots while still bearing the imprint of a director’s unique world view and artistic perspective.
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| Skeletons in the Closet Allison discovers something scarier than wire hangers in Hedra's closet: a wardrobe duplicate to hers |
Barbet Schroeder approaches Single White Female as though it were a character study in which one of the characters just happens to be a psychopath. The time and care spent on defining the relationship between Allie and Hedy, shading it with a comfortable intimacy and credible eccentricity (Allie accidentally catches Hedy masturbating, but instead of turning away, she lingers, watching) lends this film the stamp of quirky distinction.
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| Mirrors feature prominently in Single White Female, a film exploring the dark side of identity, duality, and self-image |
A similar attribute is Barbet Schroeder’s use of mise-en-scène to amplify Single White Female’s themes. For example, the internal life of Allison, a character whose anxieties are fueled by insecurity (fear of being alone) and betrayals (her former business partner, her fiancé, her client), is reflected in her external environment.
Allison’s apartment—spacious but just cramped enough to convey urban confinement—is in a building whose derelict condition signals neglect and inattention. The rooms of the apartment all face a circular foyer, which, once the roommates’ lives and likenesses begin to merge, creates an element of disorientation and distortion. Meanwhile, privacy (or rather, its lack) is vividly dramatized by the many angles, doorways, and alcoves people use to conceal themselves or suddenly pop into view from behind; air vents that serve as sound amplifiers to neighboring apartments; and telephone answering machines that either divulge too much or are too easily erased.
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| Troubled Waters Beginning with the malfunctioning faucet that precipitates Allie getting to know her better, Hedra is associated with water throughout the film. Frequently shown bathing, showering, or in some way cleansing herself (shades of Lady Macbeth), water also figures significantly in Hedra's shadowy past. |
PERFORMANCES
High-concept premise aside, the performances of Bridget Fonda and Jennifer Jason Leigh are the prime reason Single White Female endures for me, and why it continues to be such an enjoyable thrill ride after numerous rewatchings, long after its surprises have grown familiar.When I think of actors who have a good onscreen chemistry, my mind goes immediately to the similarities those actors share and traits they have in common. But when I watch Single White Female I'm reminded that the most explosive onscreen chemistry comes from personalities with contrasting strengths that blend with a symbiotic ease.
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| Who Is She? |
The film uses both so well that, as with an ensemble piece, it's difficult to assess the work of one independent of the other. Suffice it to say that both actors inhabit their characters in marvelously realized performances that are so natural, they manage to buff out the rough edges of the melodrama, making the formulaic feel fresh.
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| Occupational Hazard Stephen Tobolowsky as Mitchell Myerson |
As the film progresses, we learn that both Allison and Hedra have the same problem of repeating mistakes. It's revealed that Hedy is in the habit of attaching herself to people in an attempt to recapture and/or recreate a seminal relationship from her childhood. Meanwhile, Allie shows signs of being a serial bad-decision-maker. She bounces from one disloyal relationship (a failed business partner) to another (a faithless fiancé) to another (hastily opening her apartment to a woman she knows nothing about) to another (a business client whose intentions she misreads).
THE STUFF OF DREAMS
I love scary movies, especially those rooted in the kind of mundane, everyday anxieties we all share. Alienation, urban paranoia, trust issues...the more the horror emanates from the basic insecurities that make up the human personality, the more intensely I relate to what is going on on the screen.
Like most kids, I loved to be frightened by monster movies. The worlds of Frankenstein, Dracula, and The Wolfman were so alien to my own existence that no matter how spooky things got, the essential "otherness" of what I was watching reinforced my subliminal safety-net reminding me that what I was watching was fantasy. Movies like these were capable of giving me shudder, a shock, or a jolt of surprise, but they were too remote in context to ever really get under my skin. All that changed in 1967 when Alfred Hitchcock's Psycho had its broadcast television premiere. Suddenly the monster was human, the weapon a familiar household object, the victim undeserving of her fate, the violence not "safe" and bloodless, and the site (most horrifically) a personal safe haven of privacy.
My 9-year-old mind was blown. The kindertrauma spectacle of Janet Leigh’s shower murder opened a veritable Pandora's Box of everyday horror in my young life.
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| The Ansonia Apartments Barbet Schroeder's homage to Rosemary's Baby |
My 9-year-old mind was blown. The kindertrauma spectacle of Janet Leigh’s shower murder opened a veritable Pandora's Box of everyday horror in my young life.
Ken’s Domestic Terror Timeline:
1967- Rosemary’s Baby published, In Cold Blood and Wait Until Dark released in theaters, and commercials for 1965s Return From The Ashes (in which a woman is murdered in her bathtub) appear on TV.
Ken’s Social Terror Timeline:
1968- Martin Luther King and Robert Kennedy assassinated. San Francisco (where we lived) terrorized by The Zodiac Killer. I see Rosemary’s Baby at the movies and have the holy hell scared out of me.
1969 to 1971- The hippie movement gave way to scare-a-thon news coverage of the Manson killings, and The Doors' "Riders on the Storm" terrorized me from radio playlists.
All this happened over a course of a few years, but to my psyche it felt as though it had happened overnight. Suddenly the illusion of safety that family and home provided was shattered by the realization that not even bathrooms are safe havens, human beings are the real monsters, and violence can sometimes be cruelly random.
Single White Female taps into all these still-fresh-to-me horrors: Apartment buildings are genuinely creepy places that thrust you in close contact with total strangers; anyone alone is justified to feel vulnerable in a big city; and what is more mysterious and labyrinthine than the human personality?
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