On September 13, 1978, an unsettling moment occurred on daytime television when Rodney Alcala, one of the bachelors on “The Dating Game,” was later revealed to be a serial killer. He was apprehended in 1979 and ultimately convicted for five murders, although it is suspected that he may have been responsible for as many as 130. Alcala possessed the charm and appearance typical of a 1970s heartthrob, sporting a hairstyle reminiscent of the Hudson Brothers and a smile akin to Engelbert Humperdinck. His confident demeanor on the show exuded positivity, but there were undeniable undertones of aggression in his responses to the bachelorette’s inquiries.
“The Dating Game” has always had a kitschy appeal, with its upbeat theme music and vibrant set design. For many, it represented a superficial side of Los Angeles dating culture. Viewers often felt a sense of discomfort during the show’s concluding moments when the chosen bachelor would step forward for a kiss, while the host described their upcoming date, framing them as a couple despite only fleeting interactions.
Some may liken “The Dating Game” to today’s “The Bachelorette.” The shocking insertion of a figure like Alcala—who embodied an outwardly normal yet predatory presence akin to that of Ted Bundy—illustrates the dangerous undercurrents of the sexual revolution for women navigating the dating scene at that time.
Anna Kendrick’s film “Woman of the Hour” delves into this chilling chapter of American culture, portraying Alcala’s story from the perspective of Cheryl Bradshaw, played by Kendrick herself. Cheryl, an aspiring actress struggling to find success, participates in “The Dating Game” with little sincerity. Alcala is one of her three potential suitors, alongside a less impactful character and a more entertaining bachelor.
Throughout the film, Kendrick artfully navigates through the 1970s, showcasing Alcala’s predatory actions. Daniel Zovatto portrays Alcala, capturing his unsettling charm before revealing moments of malevolence. The director juxtaposes Alcala’s artistic photography with his sinister motives, demonstrating how he lured young women into complacency before committing heinous acts against them.
The climax of the movie centers around the “Dating Game” episode, depicted with an edgy style, although some thematic messages may feel overemphasized. Kendrick influences the portrayal of Cheryl, opting for a more assertive character rather than the typical flirtation expected on the show. Cheryl’s sardonic approach and pointed questions challenge the format’s inherent objectification.
The film presents a chilling interaction between Cheryl and Alcala after the show, portraying a tense battle of wits that culminates in a menacing encounter. Unlike in real life, where Cheryl avoided her date with Alcala due to discomfort, the film conveys a sense of satisfaction as Alcala eventually faces justice. While “Woman of the Hour” captures the dissonance between American entertainment and grim reality, it occasionally lacks depth in its social critiques and connections.