The Other pops up as a kind of Doppelgänger-and so inconveniently-in the films of Joseph Losey, e.g., the master-servant struggle in The Servant, or the Jew-Gentile relationship in Mr. Klein. In The Prowler it takes the form of a policeman (Van Heflin) who gradually becomes the lurking predator of the film's title. Called to check out the home of a woman who suspects a prowler on the premises, the cop discovers no prowler, but only the lonely wife of a very (nouveau-) rich man. The cop lingers, leaves, and then returns to lie in wait for the husband. In the desperate affair that ensues we follow the cop on the trail of his own cupidity, starting in the Spanish-style home that rises out of the L.A. night to trap him, and ending in the white space of a desert ghost town. Losey's integration of location, decor and camerawork into the narrative is already masterful in his last American film. The screenplay is by Dalton Trumbo, like Losey, a blacklisted artist.