director William Castle
Arguably, William Castle directed more movies before he became the William Castle we’ve come to know and love. I’m sure no character like Castle just suddenly started being William Castle, but it wasn’t until he began financing his own films and adding his persona and his requisite gimmicks that the real William Castle started making movies.
Homicidal was the fifth of these pictures and is often brushed off simply as a cheap response to Alfred Hitchcock’s Psycho (1960). While it’s no secret that Castle imagined himself a true competitor of Hitchcock, and Homicidal came out on the heels of Psycho, it’s maybe best to see it on its own terms than in comparison with Hitch’s masterpiece.
It starts with a pretty confusing, if titillating opening, in which Emily (star Jean Arliss) shows up at a Ventura, CA hotel and entices a bellboy to marry her toot sweet. Trying to follow along logically is the real rub, because when she stabs the justice of the peace and takes off, it takes a few minutes to make sense of what is going on. The whole plot is such a tangle of confusion and high weird nonsense, which could be great, but then when it’s all spelled out and done and everything makes sense, it’s less satisfying than when it was confusing.
The key to Homicidal is Jean Arliss, who apparently landed the lead by coming in dressed as both her striking blonde self and also as a convincing man. Gender gets bent but not broken in Homicidal, and Castle is more interested in “the twist” than in the underpinning pop psychology that could have made this more salacious.
Still, pretty fun stuff.