None of the surveys of “The Crossing Point” that I’ve seen depict the Jack Nicholson character as a dipsomaniac, however that is the way to the character and the motion picture. He plays a diamond setter named Freddy whose youthful little girl was slaughtered a few years prior by an inebriated driver. Presently the driver is out of jail, and Freddy arrangements to execute him. For most analysts, that is by all accounts enough: He needs exact retribution for his little girl’s life.
Yet, Freddy’s years of torment and the current unhinged condition of his life can’t be clarified just by the passing of a girl. We discover that instinctively in a critical early scene in the film, where Freddy visits his previous spouse Mary and her new husband. At first he is independent. At that point he blasts with wrath, declaring that the tipsy driver is out of jail, and that he will murder him. He yells at Mary’s new spouse: “Man to man – when she gets the paper and peruses that he is dead – take a gander at her face and check whether you don’t see pride and alleviation. Pride . . . what’s more, help.” This essential discourse uncovers that Freddy’s prime inspiration is not exact retribution, but rather the need to awe his previous spouse with his activity.