Free-lance prostitution on a sleeping car seems a rather uneconomic concept, but also, in its sinful way, a rather romantic one: strangers on a train, strangers in the night, etc., etc. The off-train material is less appealing: the prostitute's daytime job is smothered under heavy irony (lecturing to girls on Impressionist painting: "...never what it seems ..."), and her "motivation" under heavy schmaltz (the crippled former track star). And the espionage element is so tardy in its arrival that it ought to be sent straight to the Principal's Office. (Good murder method, though: the poisoned press-on fingernail.) With Wendy Hughes and Colin Friels; written and directed by Bob Ellis. (1988) — Duncan Shepherd
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