Ever since his groundbreaking performance in Alfred Hitchcock’s PSYCHO (1960), Anthony Perkins maintained a penchant for playing quirky, unbalanced types right up until the end of his all too short life. A sleeper when released in 1968, PRETTY POISON is a prime example of this, with Perkins cast alongside 1960s sex kitten Tuesday Weld, making for an undeniable chemistry, despite them being a bit too old for their roles. Based on Stephen Geller’ novel She Let Him Continue and adapted for the screen by Lorenzo Semple Jr. (of “Batman” TV series fame), the film was championed by critic Pauline Kael, yet still managed to fall into sudden obscurity but gathered a loyal fan following through the years.

Dennis Pitt (Perkins) who years earlier was institutionalized for committing arson is released to small town life and given a job at a local factory. He immediately becomes magnetized to Sue Ann (Weld) an all-American high school cheerleader living a boring lower middle class existence with her single mother. Dennis woes Sue Ann by putting on a fantasy world act, pretending to be in the CIA, leading to several secret rendezvous’ and eventually a steamy relationship. He coaxes her into a dangerous scheme at his place of work, causing her to commit a crime that makes his prior unlawful actions look petty in comparison. Outwardly innocent and naïve, sweet Sue Ann might be more mentally unbalanced than Dennis, who has apparently met his match.

Noel Black’s first feature film begins as a playful black comedy which later turns morbid (but still playful), resulting in a unique and engrossing viewing experience. Revisiting the film reminds one of how much Perkins is missed as an actor, and Weld (who always seems to be underrated) is at her best, despite her reportedly hating her own performance. Excellent support comes from fine character actors like John Randolph as Dennis’ concerned doctor, Dick O’Neill as his insensitive boss, and best of all, Beverly Garland as Sue Ann’s bitch of a mother (their exchange of cheek slaps is a highlight). Ken Kercheval, who late became a familiar face on TV’s "Dallas", has a small but pivotal role during the film’s ending. With lots of semi voyeuristic camera set ups shot through fields of glass or dirty window panes, the film creates a sense of rural gloom and tedium, with two central characters creating their own fantasy world, albeit, a realistically dangerous one. But revealing more about PRETTY POISON would not be fair to the uninitiated, since this definitely a little gem worth checking out.