Ferdinand keeps trying, unsuccessfully, to get close to Rebecca. Then he runs into the mysterious Henry (Stephen McGann), who drives him to Hamburg, where Rebecca is giving a concert. The young admirer ends up in a shabby hotel across from Rebecca’s apartment, which allows him to play voyeur. The ever-creepier Henry keeps showing up, and his presence becomes increasingly unsettling to Ferdinand.
When Rebecca invites Ferdinand home to Dublin for a recording session, he jumps at the chance to spend time with his love and to escape the clutches of Henry, who is determined to insert himself into Ferdinand’s life. In classic thriller fashion, Henry follows the couple to Ireland and his true identity is revealed in a blood-soaked ending.
Director Hansjorg Thurn shows more skill in setting the eerie mood than he does in keeping the thrills coming at a good click, and the script by Thurn and Phil O’Shea is filled with improbable twists, only to revert to hackneyed thriller moves for the finale. The subplot about dark love and subterranean sexual passions is enticing, but the film touches on these notions only briefly before heading straight back to the main action.
Both Anholt and O’Rawe are adequate, but it is McGann who makes the most memorable impression, providing some of pic’s few sparks with his demented presence. Gerry Lively’s lensing is long on ultra-shadowy shots that set the nocturnal mood. All other tech credits are fine.