The Hines-Greenman meller details some of her blitzkrieg style, but mostly Diana is startlingly secretive. Helmer Corcoran, abetted by Malcolm Cross’ insightful lensing, uses striking setups, tight close-ups of Diana’s face as she confides to the camera.
The telefilm, based on a true story, as end credits reveal, has an intriguing sense of inevitable doom. Vidpic relates how the madly jealous Diana tries discrediting Abby while Nick counters her attempts. The women keep challenging each other until one’s washed away.
No soaper, “Too Close” sometimes has the power of serious legit drama, with everyone involved displaying utter respect for this bio of an obsessed woman.
What would seem an unlikely stretch in a fictional tale is that Nick ends up defending his mother in court. Certain he knows his own mother, Nick hasn’t done his homework on her mother’s past; the prosecution has. The complex relationship between mom and son, particularly symbolized in a silent scene in which they sit motionless in a detention room, seems unnervingly real, and Schroder’s confused but determined Nick works out strikingly well.
Light wastes no time on histrionics: Diana’s too cunning for such maneuvers. As the shady lady, the actress demonstrates how subtle and deadly serious a telefilm can be. Secondary roles — Dorothy Gordon’s nervous tenant Mrs. Sweeney, Dawn Greenhalgh’s dead-serious judge, Harry J. Lennix as prosecuting attorney, Anthony Sherwood as investigating cop Gillespie — are ably played.
Ralph Brunjes’ superior editing paces the vidpic beautifully, right down to the bang-up ending. Tim Bider’s production design is richly imaginative and credible, and Jonathan Goldsmith has contributed a spare, helpful score. All the way, a grabber.