Film Review: Murder by Phone (Bells, 1982)

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Development of technology can make certain films hopelessly dated and almost incomprehensible to younger generations of viewers. One of the clearest examples is Murder by Phone, 1982 thriller directed by Michael Anderson, also known under title Bells.

The plot begins in a Toronto subway station where young woman answers the call at public telephones booth only to get electrocuted to death. A month later Nat Bridger (played by Richard Chamberlain), university professor and environmental activist, arrives to Toronto to attend the scientific conference, together with his mentor Stanley Markowitz (played by John Houseman). Since the dead woman happened to be his student and since the heart attack is listed as cause of death, Bridger uses opportunity to investigate. Despite scepticism by police detective Lt. Mara (played by Gary Rieneke) and open hostility by phone company, he gathers enough information to develop theory that someone has managed to send power surge through phone lines and actually kill the woman. In his investigation he is also helped by Ridley Taylor (played by Sara Botsford), an artist employed by phone company and with whom he starts romantic relationship. In the meantime, more people die after answering the phone calls by mysterious killer.

Michael Anderson, British film maker known for some big films in his resume - The Dam Busters, “Oscar”-winning Around the World in 80 Days and Logan’s Run - has made Murder by Phone after arriving in Canada in early 1980s. Relatively low budget in comparison with his previous work didn’t seem discouraging and Anderson actually embraced new trends, modelling the general structure of the film on the popular horror films of the time (including some of the cliches, like the blonde secretary with big breasts who predictably gets killed while wearing underwear). The most obvious influence, however, seems to be David Cronenberg with Anderson putting modern “cool” urban setting of Canada to good use and making gruesome spectacular electrocutions look like killings in Scanners. Anderson also tries to add some original touch, so the phones in the films are made to look as intimidating as possible, although in the case of phone owned by Ridley Taylor’s character, few in audience would fail to notice its phallic shape. Scriptwriters Michael Butler, Dennis Shryack and John Kent Harrison, on the other hand, try to add some sort of socio-political relevancy to the plot and the phone company is presented as too powerful, corrupt and too enthusiastic in attempts to hush up the killings. Seen from today’s perspective, Murder by Phone might give somewhat comforting thought that current issues with Big Tech aren’t something that haven’t been experienced by past generations.

The cast of the film is solid. Richard Chamberlain’s performance isn’t particularly memorable, but it is functional within context. “Oscar”-winning veteran John Houseman adds a little bit of gravitas, while Sara Botford handles her thankless role (in which she mostly serves as eye candy) well. Another name unexpectedly big for this B-film is famous composer John Barry who wrote one of the most unusual soundtracks of his career. Based exclusively on synthesisers, it actually makes Murder by Phone look cheaper than it actually is. The worst aspect of the film is the ending, which is in many ways anti-climactic and relies on audience to unconditionally accept film’s premise (which was never properly explained). Murder by Phone, with its short running time, is nevertheless solid piece of entertainment, although it could be hard to recommend to anyone born after 1995 or unable to grasp the concept of fixed phone lines.

RATING: 5/10 (++)