"When Murder Calls" (a.k.a., "Radio Silence") is a well-produced film, and it is successful in sustaining suspense through scripting, acting, and production values.
The central character of Dr. Jill Peterman raises an ethical dilemma that the film explores in depth. That dilemma concerns that ethics that should exist in a popular radio broadcast where "Dr. Jill" dispenses advice in relationships. Her trademark admonition is to break off from a lover, breaking off a relationship when one's needs are not being met.
A defining moment in the film is when Dr. Jill is first interviewed by Lieutenant Briggs, a homicide investigator, who never researched an apparent death by suicide that occurred live on the air after Dr. Jill had advised a young woman to "get rid" of her present existence. The caller identifying herself as Alexis evidently took Dr. Jill seriously and shot herself.
After listening to Dr. Jill, the female police detective informs her that her own girlfriend dumped her after listening to one of Dr. Jill's spiels to break off a relationship. It is clear that Dr. Jill may have a wide array of enemies, one of whom is likely Lieutenant Briggs.
There is multi-dimensional quality to Dr. Jill's character, who feels remorse for not being more sensitive to Alexis. But when her bestie Claire Ashton is murdered, the assailant apparently mistaking Claire for Dr. Jill, our heroine is now on her own with no support from the police for an investigation.
The film keeps the viewer guessing with suspects ranging from Dr. Jill's spineless director of programming, Stu Wells; an ambitious sound editor, Li Chan; Brett, who was Dr. Jill's ex-beau and an incompetent security guard at the radio station; and even such characters on the periphery as the gossipy barista, Daisy Reid and the radio's studio's owner, Ron Taylor, who will stop at nothing to boost the ratings.
The film's director made use of interesting camera angles for the face of Dr. Jill during her broadcasts, and the actress adopted an intriguing sotto voce approach on the air. The scoring of the film was also creative and helped to solidify the tension that was felt in the snake pit of the studio, as well as the nightmare experienced by a well-meaning, but naive pop psychologist.
The central character of Dr. Jill Peterman raises an ethical dilemma that the film explores in depth. That dilemma concerns that ethics that should exist in a popular radio broadcast where "Dr. Jill" dispenses advice in relationships. Her trademark admonition is to break off from a lover, breaking off a relationship when one's needs are not being met.
A defining moment in the film is when Dr. Jill is first interviewed by Lieutenant Briggs, a homicide investigator, who never researched an apparent death by suicide that occurred live on the air after Dr. Jill had advised a young woman to "get rid" of her present existence. The caller identifying herself as Alexis evidently took Dr. Jill seriously and shot herself.
After listening to Dr. Jill, the female police detective informs her that her own girlfriend dumped her after listening to one of Dr. Jill's spiels to break off a relationship. It is clear that Dr. Jill may have a wide array of enemies, one of whom is likely Lieutenant Briggs.
There is multi-dimensional quality to Dr. Jill's character, who feels remorse for not being more sensitive to Alexis. But when her bestie Claire Ashton is murdered, the assailant apparently mistaking Claire for Dr. Jill, our heroine is now on her own with no support from the police for an investigation.
The film keeps the viewer guessing with suspects ranging from Dr. Jill's spineless director of programming, Stu Wells; an ambitious sound editor, Li Chan; Brett, who was Dr. Jill's ex-beau and an incompetent security guard at the radio station; and even such characters on the periphery as the gossipy barista, Daisy Reid and the radio's studio's owner, Ron Taylor, who will stop at nothing to boost the ratings.
The film's director made use of interesting camera angles for the face of Dr. Jill during her broadcasts, and the actress adopted an intriguing sotto voce approach on the air. The scoring of the film was also creative and helped to solidify the tension that was felt in the snake pit of the studio, as well as the nightmare experienced by a well-meaning, but naive pop psychologist.