Having witnessed the murder of her prostitute mother (Bibbe Hansen) at the hands of a client (Nicholas Love, JENNIFER 8) when she was a child, Londoner Olivia (Suzanna Love, THE BOOGEY MAN ) grows into a young woman with a double life: the brutalized wife of welder Richard (Jeff Winchester) by day, and exploring her mother's sadistic proclivities as a lady of the night. She falls in love with kind American Mike (Robert Walker, THE DEVONSVILLE TERROR) who is supervising the transport of London Bridge to Arizona, but their happiness is cut short when Richard discovers them and a struggle sends Richard into the Thames and Olivia running into the night. Four years later in Arizona, Richard sights from London Bridge a tour guide who resembles Olivia and pursues her, but he is not the only one... A low-budget VERTIGO constructed around the reconstruction of London Bridge in Lake Havasu in 1971 - a move which also brought the spirit of Jack the Ripper stateside in the 1985 TV movie TERROR AT LONDON BRIDGE - OLIVIA (known as PROZZIE in the UK) is one of the artier American exploitation films of Fassbinder-trained actor-turned-director Ulli Lommel (TENDERNESS OF THE WOLVES). The eerie blue-gelled cinematography that David Sperling brought to Lommel's THE BOOGEY MAN works equally well here for a De Palma-esque erotic thriller and Jerry Goldsmith's son Joel (LASERBLAST) provides a suitably romantic synth score, but a death-by-toothbrush is too silly however soberly executed (and far more suited to the gag's recycling in Lommel's BOOGEYMAN II which was a deliberate send-up). Lommel's muse Love is as vulnerable and sensual, while Walker (the lookalike son of Farley Granger's STRANGERS ON A TRAIN co-star) is a bit shortchanged by the script since much of the film is told from the POV of its object of mystery and desire rather than her pursuer. The film also points the direction in which Lommel's later little-seen eighties and nineties passion projects Lommel would take while he was still churning out work-for-hire exploitation pics (which were very low budget but still more "filmic" than his 2000-era DTV true crime films like BLACK DAHLIA).