A black comedy in every sense of the word, this picture is quick, witty, and grisly. Steiger stars as a wealthy, mother-obsessed theater owner in New York City who hates his dead parent (an actress) so much that he is exacting vengeance on every other woman. Having grown up around the
Broadway stage, he uses his masterful knowledge of disguise and his ability to secure costumes to essay seven roles, including a hairdresser, a woman, a waiter, and a plumber. He murders several innocent victims by strangulation, becoming what has since been deemed a "serial killer" because his
modus operandi includes leaving a lipstick kiss on the forehead of each dead woman. Segal, a detective with a cliched Jewish mother, Heckart, is assigned to the case. His comments to the media include one to the effect that this killer is most intelligent, which delights Steiger enough to prompt
him to call Segal at headquarters. This is the first of a number of calls Steiger makes, each in a different voice and accent, as the battle of wits commences. Segal encounters witness Remick, who met the killer briefly when he was disguised as a priest, and the two fall quickly in love. Steiger
begins to tail Segal and sees his relationship with the woman deepening. In one of his phone calls, Steiger subtly drops a clue that Segal pounces on; then Segal, in an attempt to flush out the madman, plants the story of another murder with the same procedure, which goads Steiger into calling
Segal and denying the new crime. Segal keeps him on the line long enough for the phone company to get a trace on the call. Steiger decides to punish Segal by murdering Remick, so he shows up as a waiter carrying a gala dinner as a gift from Segal. Segal realizes the inner workings of the killer's
mind and races to Remick's apartment before Steiger can do the deed. Steiger runs to his theater and is chased by Segal, who guns him down.
Once again, Segal does the sort of role he did in BYE, BYE BRAVERMAN before and THE BLACK BIRD; BLUME IN LOVE; and WHERE'S POPPA? afterwards: the quintessential Jewish schlepp. This is a well-crafted film shot in New York City that doesn't slow down at all, even in some of the lovey scenes between
Remick and Segal, which are a bit too quick and glib. Remick looks marvelous and does what she can in a subordinate role (though she's billed above Segal). A combination of Freud, fraud, and froufrou, NO WAY TO TREAT A LADY got good notices and did a fair turn at the box office. leave a comment
