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Julie Carmen and Hannah Kozak on Paint it Black

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Rick Rossovich and Julie Carmen in Paint It Black (1989)

Rick Rossovich and Doug Savant in Paint It Black (1989)

Rick Rossovich

Doug Savant

Julie Carmen

Michael Drexler

A.H. Zacharias

Roger Holzberg

A serial killer covers his victims in modeling clay, and a local sculptor is accused of the crimes.

Tim Hunter

Paint It Black

Tim Hunter&apos;s homage to Hitchcock

It may help when viewing &quot;Paint it Black&quot; to bear in mind that director Tim Hunter is one of the world&apos;s leading experts on the films of Alfred Hictchcock, having taught classes on the subject while an instructor at the University of California at Santa Cruz in the &apos;70s. I believe this film is Hunter&apos;s way of acknowledging Hitchcock&apos;s influence on his own directorial style, which lies somewhere between those of Brian De Palma and the Hitch himself.  There are numerous elements in &quot;Paint it Black&quot; that are taken directly from Hitchcock films: a chance encounter with a sociopath who sees murder as a form of favor-granting (&quot;Strangers on a Train&quot; 1951), characters dangling precariously from a cliff face (&quot;North by Northwest&quot; 1959, and check out how one of them falls apropos this reference!), a female lead who is unsure of her paramour&apos;s intentions (&quot;Suspicion&quot; 1941), a slowly turned object revealing a wrenching surprise (&quot;Psycho&quot; 1960), prominently displayed scissors (&quot;Dial M for Murder&quot; 1954).  And these are only the references that jumped out and screamed at me as I was watching the film.  I&apos;m sure a closer viewing would reveal many more.  &quot;Paint it Black&quot; is fun viewing for any fan of Hitchcock&apos;s work, and on that basis is worth catching on video or TV.

But as a film in and of itself,  well that&apos;s another matter.  Doug Savant and Sally Kirkland are fine as the &apos;disturbed young man&apos; and venal art gallery owner, respectively.  And Martin Landau is effective in his smaller role as an equally money-oriented gallery owner, as is Peter Frechette as the conflicted employee of Kirkland&apos;s character.  The protagonist, however, is portrayed in an utterly leaden manner by Rick Rossovich; there is more animation in the beat up Volkswagen bus he drives.  Julie  Carmen as his love interest is eye candy, but adds little else to the film.  The script is pedestrian and the editing sloppy, but Hunter does manage to work in some great shots in a few scenes.  Clearly a low-budget film, the production values leave a lot to be desired, but one can only do so much if there isn&apos;t much cash to spread around.

Highly recommended for Hitchcock lovers as a &apos;spot the reference&apos; exercise, but otherwise a mediocre film.  Rating: 5/10.

It may help when viewing "Paint it Black" to bear in mind that director Tim Hunter is one of the world's leading experts on the films of Alfred Hictchcock, having taught classes on the subject while an instructor at the University of California at Santa Cruz in the '70s. I believe this film is Hunter's way of acknowledging Hitchcock's influence on his own directorial style, which lies somewhere between those of Brian De Palma and the Hitch himself.  There are numerous elements in "Paint it Black" that are taken directly from Hitchcock films: a chance encounter with a sociopath who sees murder as a form of favor-granting ("Strangers on a Train" 1951), characters dangling precariously from a cliff face ("North by Northwest" 1959, and check out how one of them falls apropos this reference!), a female lead who is unsure of her paramour's intentions ("Suspicion" 1941), a slowly turned object revealing a wrenching surprise ("Psycho" 1960), prominently displayed scissors ("Dial M for Murder" 1954).  And these are only the references that jumped out and screamed at me as I was watching the film.  I'm sure a closer viewing would reveal many more.  "Paint it Black" is fun viewing for any fan of Hitchcock's work, and on that basis is worth catching on video or TV.

But as a film in and of itself,  well that's another matter.  Doug Savant and Sally Kirkland are fine as the 'disturbed young man' and venal art gallery owner, respectively.  And Martin Landau is effective in his smaller role as an equally money-oriented gallery owner, as is Peter Frechette as the conflicted employee of Kirkland's character.  The protagonist, however, is portrayed in an utterly leaden manner by Rick Rossovich; there is more animation in the beat up Volkswagen bus he drives.  Julie  Carmen as his love interest is eye candy, but adds little else to the film.  The script is pedestrian and the editing sloppy, but Hunter does manage to work in some great shots in a few scenes.  Clearly a low-budget film, the production values leave a lot to be desired, but one can only do so much if there isn't much cash to spread around.

Highly recommended for Hitchcock lovers as a 'spot the reference' exercise, but otherwise a mediocre film.  Rating: 5/10.

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