When we discussed Scream & Scream Again (1970) on The Classic Horrors Club Podcast, We mentioned that director Gordon Hessler always seemed to get the short end of the stick, either filling in at the last minute, or being restricted by contract. After making The Golden Voyage of Sinbad (1973), he directed several TV movies and some episodes of TV series (including Kolchak: The Night Stalker.) The point is, he was dependable, but perhaps rarely had the chance to exercise creative flair.
I don’t know that it’s Hessler’s creative flair showing its head in Betrayal (1974), but it definitely demonstrates some theatrical moments. The small screen movie sometimes feels like it utilizes big screen filmmaking conventions. For example, dialog from one scene sometimes continues over action of the next scene. This either reveals a bit of backstory or advances the plot within its relatively tight 74-minute running time.
The aforementioned plot is more problematic, which makes me wonder how it differs from the source material, the novel Only Couples Need Apply by Doris Miles Disney. The title refers to a couple, Gretchen Addison (Tisha Sterling) and Jay (Sam Groom) that travels the country extorting rich widows, then killing them. Before the opening credits roll, we see Sam shoot one victim, Eunice Russell (the always-wonderful Lucille Benson), and head toward San Francisco to begin again with another.
Helen Mercer (Miss Kitty, herself, Amanda Blake) doesn’t know Sam is part of the package when she hires Gretchen to be her companion. She’s become so fond of her by the time he appears and starts causing trouble, though, that she also welcomes him into her home. This is where the details become problematic. Helen may be a bit naive, but she’s also very smart. Even if she can’t put her finger on what’s wrong, she cares about Gretchen and is willing to give her the benefit of the doubt.
Helen’s past isn’t exactly clean, either. She shot and killed an employee who was lurking around the house late one night. Although exonerated, she carries the guilt. This is important not only to her character, but to the story, because, guess what… history is going to repeat itself when Sam lurks around the house late one night. If you’re with it so far, this is the point where you suspend your disbelief. Most of what happens through the end feels manufactured rather than natural or logical.
This is primarily because I didn’t buy the relationship between the two women. We witness them bond, but never see evidence for why Helen would not only forgive Gretchen of her transgressions, but also allow them to continue. On the other hand, maybe it’s just subtle. Maybe Helen sees herself in the younger Gretchen and wants her to have the second chances she never did. In other words, it’s left to your interpretation. I’ve often said that’s not a bad thing. It didn’t work for me here, though, but it might for you.
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