WWII era West Virginia. In a rural area, there's a thoroughly despicable character named Pink Gresham (top character actor Bill Smitrovich), a mill foreman who not only screws over his employees, but cheats on his wife Maggie (Kathy Baker) to boot. Shortly into the story, Maggie finds Pink dead, and is then visited by a stranger, Baston Morris (Peter Weller). Maggie finds herself drawn to Baston, even after he informs her that he's murdered her husband. The balance of "A Killing Affair" shows how their relationship develops, as she struggles between possible feelings for him and an understandable amount of distrust for the man. Is Baston really on the level with her? He hides out on her homestead while the law searches for him.This marked the directing debut for screenwriter David Saperstein ("Cocoon"), who adapted the novel "Monday, Tuesday, Wednesday" by Robert Houston. This viewer didn't mind so much the fact that it is a pretty sordid story (with some interesting revelations along the way), but overall it lacks any truly intriguing features). It's got some decent period atmosphere, some mild titillation (a brief flashing of breasts), a draggy pace, and no on screen violence, but what it does have is a sympathetic, appealing performance by Ms. Baker. Weller is passable as the earnest, somewhat enigmatic Morris. Smitrovich is perfectly vile in his brief time on screen. And John Glover is solid, if not utilized to his full potential, as Maggies' brother who is also the local priest. The film does also have a lush, lovely score by ever reliable John Barry.Not bad, but not very memorable either.Six out of 10.

It's a real story, and I know who the characters are immediately. But the best part is the superb acting by Kathy Baker. This is her movie from start to finish. Sure, the others, (Weller, Smitrovich ) are good, but nothing in comparison to Baker.Her voice, the tone, the pauses, the eyes, the gestures, combine to tell the exact emotion, in an emotion-packed story. There is worry, doubt, fear, a tiny bit of joy - it's all there, compassion too. Not much to laugh about, in fact nothing at all, but that's not necessary in such a gripping story.Set in small-town USA in the forties, where the mill is supposedly short of able-bodied men. Flashbacks tell of the background as the horrible foreman acquires a wife from the distraught and stupid son of another horrible person who had locked his wife in a share-croppers shack for two years.As he is led away after being caught, he shouts "She's my wife, she belongs to me", and that seems to be the attitude of his son Sheb (John Glover) who later becomes a Baptist minister and proclaims the same horrible code. Maggie (Kathy Baker) is his sister. Sheb callously gives her to Pink Gresham, the Parrish Mill foreman. Pink cheats on his workers - deducting $5 *more* from their pay packet than usual (that would be a huge amount in today's money), but the workers are powerless to complain. Pink cheats on his wife too, spending the night with cute Sara (rather oddly, the credits say "Sarah's father"? (Danny Nelson) who doesn't say a word. His face says it all - disapproval, but powerless to interfere.Someone else that Pink has hurt is Baston Morris, (Weller) with whom Pink had stayed for a week whilst looking for workers to replace men who have been drafted or enlisted in the war. Pink buys gifts for the Morris children and especially their mother (another actor who doesn't say a word). The wife says (in a letter that Baston finds) that she will leave Baston and go to live with Pink. Needless to say, that upsets Morris so much that he comes after Pink. And gets him.When Morris shows up at the Gresham house, on the other side of the river with no road access, Maggie is effectively held hostage. She tries to get help from a neighbor, but fails. To add to the fear and danger, there are a pack of wild dogs in the area. Morris deals to them and threatens to do the same to Maggie unless she agrees to help him escape.There are a couple of very short scenes, half a second long, that need to be noticed and their relevance understood. That might take a second or third viewing of the DVD, well worth it. The neighbor's young son has seen a critical event between Maggie and Morris. That leads to the arrival of the Sheriff, and the inevitable conclusion.Great writing, lots of memorable lines, great direction and production. My only complaint might be the title, OK, there is a bit of killing, but that's not the main story, so perhaps "Hostage Affair" might have been better.

1943. Evil and unscrupulous mill foreman Pink Gresham (well played to the despicable hilt by Bill Smitrovich) gets murdered in a small backwoods town in rural Virginia. Gresham's mousy widow Maggie (a solid and sympathetic portrayal by Kathy Baker) gets paid a visit by mysterious drifter Baston Morris (a fine performance by Peter Weller), who openly admits that he murdered Gresham and seeks refuge in Maggie's home.Writer/director David Saperstein delivers a strong and flavorsome evocation of the 1940's period setting as well as an equally potent and unnerving sense of isolation and vulnerability, with the remote island location that's being terrorized by a pack of wild dogs coming across as especially well-realized. Baker and Weller do stand-out work in the leads, with sturdy support from the always dependable John Glover as meddlesome local minister Sheb Sheppard. Both John Barry's moody score and the handsome cinematography by Dominique Chapuis are up to par. However, the often sluggish pacing and frequently meandering narrative make this one a bit of a rough slog to get through at times. Those flaws aside, this film overall still sizes up as a pretty engrossing and effective outing.

Based on Robert Houston's potent novel: "Monday, Tuesday, Wednesday", this film relates of Maggie Grisham (Kathy Baker) who finds herself espaliered to a man who has just killed her husband, and who then takes shelter with her from his pursuers, in her rural West Virginia home which is nestled in a jungle of trees and brush, surrounded by packs of feral dogs. Obviously not terribly pleased with the interloper, Baston Morris, played pungently by Peter Weller, Maggie is inexorably drawn physically to him, partially since her late husband, Pink (Bill Smitrovich) was not faithful to her and was widely recognized before his demise as a man of inferior character who preyed upon the wives of those he supervised at the mill where he was foreman. From flashbacks, we discover that the wife and children of Morris were slain shortly before the death of Pink Grisham, and that the fugitive believes that the foreman was their murderer to avoid becoming entangled with the family as Morris' wife had decided to leave him for his boss and this, therefore, is why Morris had killed him: an act of retribution. The substance of the narrative becomes an attempt to determine if Morris is what he claims to be, a wronged man bent upon revenge, or something either better or worse, and Maggie is increasingly swallowed by her curious dilemma of finding herself possibly in love with her husband's killer who may, in fact, be a madman. There is a baroque quality to this work, with an appropriate thematic score electronically organized by John Barry, and a goodly amount of symbolism borrowed from the novel, as adapted by director David Saperstein, especially relating to the river which borders the Grisham property and which serves also as a cinematic boundary. Although an entry at the AFI Festival in Los Angeles, the film has been sadly neglected since; its almost balladic nature is strengthened by the fine editing of Patrick McMahon, the production design of John Jay Moore, and the costumes of Elizabeth Seley, with the latter pair accurately reprising the scenario's 1943 setting. Weller performs nicely in a role which allows for dramatic development and Baker is convincing as a mother and sudden widow who is unexpectedly exposed to circumstances and emotions of which she has no experience, and the action is most effective when these two are alone together; the remainder of the players are well cast, with only John Glover, as Maggie's brother, lacking his customary steam in his portrayal.