This was the film that started that the cinematic love affair<br /><br />between the Jaundiced Eye crew and Matthew Ferguson. His<br /><br />ability to portray RELATIVELY normal characters like Birkoff in<br /><br />"La Femme Nikita" is counter-balanced by his equally deft<br /><br />handling of weirdos like "Kane." One wishes that he would only<br /><br />be given more roles, bigger roles, and other, even more complex<br /><br />roles to assay to push the limits of his abilities. There were<br /><br />four or five memorable scenes in this film, and Matthew Ferguson<br /><br />stole two of them from far more experienced actors. This film<br /><br />itself is good, and it is worth watching on its own merits, but<br /><br />Ferguson makes it a little extra special. His *ouevre* may<br /><br />eventually show what the career of Anthony Perkins MIGHT have<br /><br />been like if he hadn't been typecast as "Norman Bates" so long<br /><br />ago. "Kane" isn't quite as whacked-out as Norman, and far fewer<br /><br />people saw "Love and Human Remains than saw "Psycho," so we can<br /><br />hope that Ferguson will show us some hint of what Perkins MIGHT<br /><br />have been able to accomplish, had he been allowed to do so. . . .