After carving out eccentric, obtuse molds for her personality while co-starring in Robert Altman's "Nashville" and Alan Rudolph's "Welcome to L.A.", Geraldine Chaplin finally earned a full-bodied (though still utterly eccentric) leading role in Rudolph's "Remember My Name", which was produced by Robert Altman. Chaplin plays an ex-convict and sociopath seeking a reunion with her former husband, a carpenter who has remarried and resides on the west coast; lacking interpersonal skills of any kind, she decides to get his attention by stalking he and his wife and breaking into their house. Intriguing, if unpleasant, modern-day melodrama with noir-ish overtures, made memorable by Chaplin's high-wire performance. Tough and unyielding, and possibly schizophrenic, Chaplin creates a portrait of a woman obsessed by the past, and wilting under the untouchable persona she has created for herself. The narrative goes a little batty in the final stretch, leading to a perplexing conclusion; however, the film's detached tone is very deliberate and assured--it creates a monotone ambiance which is hard to shake off. Director Rudolph, who also wrote the screenplay, seems to feel this material very deeply. It's a twisted and melancholy valentine. **1/2 from ****

After serving twelve years in prison for murder, a young woman (Geraldine Chaplin) seeks out the man who was her husband (Anthony Perkins) at the time the murder was committed. Why would she do this? The background story to this film is almost better than what's actually in the movie, although the movie is not bad at all. The crucial point comes when Perkins' character tries to explain the situation to his present wife, played by interesting Berry Berenson, after she has already encountered the rather menacing part played by Chaplin, in a tense scene in which Chaplin enters their (Berenson's and Perkins') house while Berenson is cutting up Romaine lettuce for tonight's salad. After she (Chaplin's character) is arrested for breaking and entering, Perkins's character decides not to press charges and then must explain why to Berenson's character. It's at this point in this movie that you can begin to figure out Chaplin's character's motivations, which lie nearly concealed. In this murky light Chaplin's character isn't as crazy as it is made out to be in the script, although twelve years of prison have taught her a lot about how to go about the judicious use of aggression, guilt, and other persuasive characteristics. The ending comes up rather fast, though endings like this one cause reflection, and that reflection may lead to the conclusion that in actuality there was nothing left for her to accomplish. She drives off on the same road she entered when the film begins.

A really great movie anchored by a spectacular Geraldine Chaplin performance. Writer/director Alan Rudolph creates a real sense of melancholia with this film. Chaplin is a recent parolee who stalks ex-husband Anthony Perkins & his new wife Berry Berenson. As bleak as things are, there are also moments of real humor laced throughout this oddity. Chaplin does NOT adjust well to her freedom. She's scary, funny and inappropriately confrontational. Perkins is fine as is Berenson and the supporting cast also includes Alfre Woodard and a very funny Jeff Goldblum (as Chaplin's doltish boss). But the film belongs to Chaplin. Her performance is one of the finest of the 1970s. Alberta Hunter contributes some excellent songs that move the story a long and the cinematography by Tak Fujimoto is stunning.