On September 13, 1978, a chilling moment in television history unfolded on “The Dating Game” when one of the three bachelors, Rodney Alcala, was later discovered to be a serial killer. He was apprehended the following year and ultimately convicted of five murders, although estimates suggest he may have committed as many as 130. Alcala was the archetype of a 1970s heartthrob, with a confident demeanor and good looks reminiscent of pop culture icons of the time.
“The Dating Game,” known for its campy vibe, was watched widely by audiences including children who marveled at its overtly playful and sometimes sleazy representation of Los Angeles’s dating scene. The show, often compared to “The Bachelorette,” had an undertone of danger, especially for women navigating the sexual revolution’s complexities.
Anna Kendrick’s film “Woman of the Hour” explores this unsettling chapter in American culture surrounding Alcala. As Kendrick’s directorial debut, the film features her in the role of Cheryl Bradshaw, an aspiring actress struggling to find her footing in the industry. Bradshaw hesitantly participates in “The Dating Game,” viewing it as a chance to gain visibility despite its trashy reputation.
The film interweaves moments of Alcala’s sinister actions with the lighthearted tone of the dating show. Daniel Zovatto portrays Alcala, effectively capturing his charming yet menacing demeanor. The movie examines the dynamics of how Alcala lured young women into his trap by posing as a photographer, using promises of glamour to disarm his victims.
While the reenactment of the show captures a sense of twisted irony, Kendrick’s direction occasionally leans too heavily into metaphor, losing some of the underlying tension. The film critiques the show’s environment, showcasing how it reduced women to vulnerable positions under the guise of entertainment.
Kendrick plays Cheryl not as the typical flirt but as a more aware character who resists becoming a mere object in the game. Her portrayal is compelling, particularly during her exchange with Alcala, which grows increasingly unsettling.
Though there are moments in the narrative that feel a bit forced, the strongest tension unfolds after the show’s conclusion when Alcala persuades Cheryl into an informal meeting that spirals into discomfort. In a twist of fate, Cheryl trusts her instincts and declines to pursue further interaction, a decision underscored by the historical context of Alcala’s violent past.
Ultimately, “Woman of the Hour” attempts to illuminate the darker side of televised dating culture, showcasing how the entertainment industry intersects with real-world consequences while illustrating the dangers embodied by charismatic figures like Alcala. Despite its insightful commentary, the film may struggle to resonate deeply as it closely guides viewers through its themes.