Arthur Penn regains some credibility (after his Target misfire) with this Hitchcockian tale of an actress auditioning for a part (Mary Steenburgen) who finds herself isolated in a snowbound country house with a sinister, wheelchair-bound physician (Jan Rubes). The material’s been recycled from old 40s thrillers, though unlike most modern impersonations of discarded genres the film retains some of the flavor of its original sources. Penn is less interested in 80s-style nerve shattering than in working clever variations on conventional thriller motifs: like an obsolete 40s craftsman, he uses form as a discipline and a release, to open up areas of tension by limiting the range of expressive choices. There’s a lot of fussy business with doppelganger images and interwound themes of crippling and mutilation (two arms reaching out on a billboard are the healthiest limbs in the film), though within the polished, artificial context Penn sets for himself, the red-herring strategies don’t seem out of place. With Roddy McDowall and William Russ.