Schizoid (1980): Piece 3 of 3

I'd like to use this piece to focus on some disparate pieces of the film that really stand out as I was watching Schizoid (1980):

• Pieter and Julie are at a window in a room of his house just discussing Julie's upcoming divorce, and, out of nowhere, Pieter just caresses her face, smears some of her lipstick, and lays in a big kiss. I don't what it was: it felt so energetically charged, but, at the same time, rather uncomfortable. I think you could look at the kiss at VERY ethically questionable, but, for many who might consider this VERY problematic, troubling if such a kiss was considered unwanted. Julie seemed startled, but never does she tell him no, so I guess it depends on the viewer as to how you feel about it.
• Doug climbs up the latter section at the back of Julie's apartment complex when she doesn't answer his buzz outside the door. Despite multiple attempts to win her back, with Julie reassuring him their marriage is over, Doug decides to still try and sneak in a window. Hilariously, another tenant hears Doug, grabs a bat, and chases Doug down the latter, into the street! I couldn't help but bust out laughing at this! 
• Doug, proving to us just why Julie was done with him, shows his ass when she brings up a plan to try and communicate with the person sending her letters (about being the gun going off on Julie eventually). He yells at her, agreeing with Herd's frustrated homicide detective, Donahue, that the whole thing was a hoax, taking her to task for wanting to help the person sending her the letters. When Alison arrives at the end of the film with a gun, pulling it on Julie, Doug appears exhilarated, elated even!
• There are two scenes in the elevator regarding Julie that really are interesting. The first has Hill outright petrified when in an elevator in her apartment complex, a young black man with a toothpick in his mouth joins her. He does nothing wrong, at all, and yet the way he's photographed, and how Hill is so terrified, it gives us an insight as to why you see how polarizing the whole process of racial profiling is. What makes this even more potent is he gets off the elevator with her, and Hill frantically rushes to her apartment with him casually and comfortably following behind. She is so anxious and terrified, she can't get her key in the lock, dropping her keys to the floor. The young black man simply kneels, picks up her keys, and hands them to her. The apartment behind him opens and the black man's white male lover is excited to see he decided to go with a bald head!  
• The other scene in the elevator, again with a terrified and nervous Julie (Hill), has her in the newspaper office, on the third floor, pressed against the wall, eyeballing Gilbert (Christopher Lloyd), who mentions he knows about her affair with Kinski's psychiatrist. He doesn't actually do anything that strange, but the way the director photographs him, you'd think Gilbert is some sinister rapist just ready to strike. And yet, just like the black tenant in Julie's building, Gilbert never touches or harms her. The irony of this film is that the one she was married to ultimately proved to be the most dangerous person in her life!
• The knife killings aren't altogether gory as much as they are vicious. The director carefully avoids much violence shown but inferred. A sauna kill has the victim getting a slice to the face, another mutilated off screen when pressed against a fence, the third scissor-stabbed inside an abandoned house after efforts to avoid her eventual demise.
• Alison wearing her mom's dress, really laying on the makeup, avoiding conversation with her father, nearly suffocating herself with car fumes in a locked barn, wearing a hat and coat reminding her father of when they dressed her that way as a child, resisting any idea of him starting a new relationship, as Pieter tries and fails to maintain calm and control really provided me with this thought: here is a psychiatrist, very successful and well paid, unable to maintain any stability in his own life! The loss of that maternal presence really shows. No matter how much Pieter tries to calm the raging waters, it seems Alison just pulls further away.
• The conclusion is as manic as everything up to it. Doug, with the gun, has tied up Julie and Alison, pursuing the man he considers the catalyst in his marriage's demise: Pieter. So Kinski is actually the hero, not the villain, at the end of the film! How is that for a change in the formula! Doug can't shoot for shit, though, and Pieter seems to avoid him for the most part, although there are plenty of chances for Doug to kill him! It dissolves into a very poorly orchestrated fight between the men, with Alison, equipped with the scissors, stopping Doug from smashing a phone into her father, despite Julie's pleas not to resort to such violence. It is a mess: exactly as it should be, I reckon.
• I guess I give the film 2/5.