In The Spirit [1990] Sandra Seacat

I am a housewife and you own a health foods store… we’re really equipped to kill this murderer…
Sandra Seacat’s In the Spirit is a sharply written, satirical mystery flick about two women in their 50s who fall into an unlikely friendship upon realization that a murderer is pursuing them both. The pair flee to an isolated retreat where they devise a plan that includes several booby traps, a few tiffs and a questionable retreat leader. Marlo Thomas is an astrology loving interior decorator who believes in veganism and destiny. Elaine May is a cynical co-lead who curses often and sometimes holds a gun— exhilarating for those of us who wished May’s character was armed in A New Leaf. This movie is a hidden gem. Thomas and May work perfectly together, Peter Falk is hilarious, the police are a punchline, and of course, this is a 1990s crime film made for women by women and about women.
I don’t want to get into a philosophical discussion with you. Your mind is like my apartment. It’s just full of junk and things and I don’t know what any of it is for.
Despite several iconic moments, a brief runtime and a great cast, this low budget flick is mid in execution. The plot was hard to follow at times and the film felt like it was missing things— maybe May couldn’t steal the footage back this time like she had with Heartbreak Kid. It’s the type of movie you can put on while re-organizing your jewelry box or doing your makeup; the important moments will pull you in and the rest will play in the background. Regardless of its executional flaws, it was very good and I would highly recommend it.
SPOILER! What you need to know about the ending…
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This movie ends on a beautiful note! May and Thomas’ trap electrocutes the corrupt detective that has been trying to murder them throughout the film. Right before the shocks pulse through his body, he snickers at the pair of women, insisting he is too intelligent to fall into their desperate trap. Once he’s dead, May and Thomas sit together at the dining table while the cops do a poor job claiming their fallen’s remains. This final moment of relief and safety, where two women sit together after murdering the man who endangered them, is a wonderful staple in feminist art. The end of this film feels similar to that of Cecelia Condit’s` Possibly in Michigan and Roald Dahl’s Lamb to the Slaughter.
Written by Sara Abdul.

