Cassandra isnt a particularly exciting film. For one, it takes an inordinately long time to give us an idea of what sort of film it is. Between the domestic banalities of Tessa Humphries father Shane Briants adulteries and his job as a fashion photographer, not to mention the childhood flashbacks to events we are not sure about, it is hard to see where the film is going during its first half-hour. Eventually it turns out to be a variant on Eyes of Laura Mars (1978) and a host of clairvoyant thrillers that have drawn from its basic plot.
Colin Egglestons direction is uninvolved, particularly when it comes to the various sequences involving the pursuit of Briony Behets and Susan Barling. Eggleston seems disinterested in doing anything more than perfunctorily moving through the material, certainly never in generating suspense. Unlike Laura Mars, Cassandra is a passive character who is never involved in nor observes the action for the most part she only seems to sit around without ever doing a heck of a lot. Certainly, one of the great pluses of the film is Tessa Humphries, the daughter of Barry Humphries (aka Dame Edna Everage), who has a fragile moral strength and quietly subdued beauty.
The film does offer up a reasonable surprise in the middle where it turns out that what we had originally taken to be another Laura Mars clairvoyant thriller copy is actually [SPOILERS ALERT] a thriller about twin telepathy. The advent of the brother reminds considerably of the characterisation of Michael Meyers in Halloween (1978), although the revelation of his identity is fairly obvious.
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