I'm always surprised that Alan Arkin's Harry Roat doesn't make it into many lists of the great movie villains. Watching it in the early '70s, I was thoroughly chilled and repelled by him, with his faux-solicitous manner toward Suzy and his confidence that he is in control. He had the advantage of stalking the most sympathetic possible victim - a blind Audrey Hepburn - and he invented the "oh- he wasn't REALLY dead!" maneuver, often imitated, but never equalled in shock effect. (The woman sitting next to me was nearly jolted into my lap - and she wasn't a small woman.) Roat stayed my touchstone for film villainy, at least until Frank Booth in "Blue Velvet," who also chilled and repelled me. But on second thought, in a contest between the two I think Roat would taken Frank's measure - and then taken him down.
I agree! I was disappointed that Harry Roat was NOT among the list of memorable baddies in last year's AFI's "100 Heroes, 100 Villains" poll. And Arkin should DEFINITELY have been nominated alongside Audrey Hepburn for an Oscar as either Best Actor or Best Supporting Actor.
Arkin's performance as a suspense-villain is absolutely flawless. The only actors to pull off comparably chilling roles, to my mind, remain Robert Mitchum (The Night of the Hunter) and, of course, Anthony Hopkins in Silence of the Lambs (even if he wasn't "technically" the villain).
"What religion to you profess, Preacher?" "The one the Lord and myself worked out betwixt us." --Night of the Hunter
Count me in, too. Roat is so FUNNY in the beginning, with his weird vocal intonations and over-articulate manner as he chats up Crenna and Weston. (Notice how he says about whats in the closet: "Nothing but CLOZE (clothes)", I swear he sounds just like Al Pacino nowaways doing his smooth talk.) Roat seems equal parts Brooklyn, beatnik, and off-Broadway method actor.
But Roat is also creepy from the first shot of him in the doorway, and he just gets creepier as the movie goes along. (I love his hair-trigger reaction to Weston with the knife early on, and how he snarls at Crenna, "Don't touch me!")
With rather sickening certainty, we slowly realize that it will boil down to just Roat and Susy sooner or later: ultimate evil vs. ultimate (but resourceful) innocence.
On the "Making of" DVD documentary, Alan Arkin offers an interesting insight as to one hidden aspect of Roat that Arkin invented for the character:
"Roat is on every drug known known to man, and all those drugs are working against each other. He's negatively neutral."
Oh, THAT explains it. He's also a sadistic psycho. Arkin pointed out that he kept Roat cool "like a snake waiting to strike," so cool that the filmmakers were worried that Roat would never get scary - until the filming day that Roat pulled the knife of Jack Weston suddenly. Then, says Arkin, "they got what I was trying to do."
Roat WAS a creepy scary guy and IMO the creepiness holds up over time. I saw this as a young teen in 1967 when this film was first released. During the last scene, Audrey Hepburn goes around smashing all of the lightbulbs in her apartment to give herself the advantage, because she knows a very bad man is coming to get her, and she is trapped and defenseless, her phone cord severed, etc. At the point where Ms. Hepburn's character hits the last lightbulb with her cane, ALL lights in the theater were extinguished. The theater and the screen were pitch-black.....until the refrigerator door opened, and....you know the rest.---creeps me out to this day! Any other dinosaurs out there remember this?
Yes, I remember that. I also like how Roat wears dark glasses, for the time he's calling the shots (until Susy throws film developer in his face). It's as if he's mocking her infirmity. After she throws it, he pulls off his glasses and has this horrid look on his face like, "Okay bitch, no more games!" You know the climax is near.
Of course, the 'lights out' trick was back when -one- theatre would play -one- film. You won't see this kind of attention paid to a multiplex film.
"Quit whining. I evaded your vital organs." --Motoko Aoyama
Alan Arkin's Roat is absolutely one of the greatest evocationsB of screen evil. (Read Stephen King's take on him in "Dance Macabre") Arkin was absolutely brilliant, loathesome beyond all imagination. By the time the film gets to the Roat vs. Suzy showdown, the audience is terrified for her. When I first saw this in a theatre in l967, theatres (at the suggestion of Warner Bros. publicity dept) turned off the exit and emergency lights in the auditorium, plunging the theatre into total darkness during the final sequence. And my God , did the audience ever scream and jump five feet out of their seats.
As others have already mentioned, I think that as a movie villain Roat has only really been equalled by Robert Mitchum in NIGHT OF THE HUNTER and Dennis Hopper ('Frank') in BLUE VELVET. It's a great performance.