Das Auge des Killers

The term sleeper is overused but I think it applies to this movie. It's got one of those titles like "The Stepfather" and "Cop," titles that are bad and misleading and really don't give you a sense of how well-made the film is. Like the other movies, White of the Eye benefits from an intense performance by its leading man. David Keith has always been underused in movies but there was a period in the early '80s when he seemed to be on the brink of major stardom. In this movie, he completely loses it and becomes a suburban monster; those looking for the appealing David Keith from An Officer & a Gentleman or The Lords of Discipline should look elsewhere. Cathy Moriarity was less effective as she will always be typecast as the tough New York broad. She seemed a little out of place in Tucson, Arizona. I recommend this movie for the same reasons I recommend The Stepfather, Cop, and The Reflecting Skin--I saw these movies years ago and they really left impressions I can't seem to shake.

What we have here is a clear case of a movie that tries to get by on sheer style, without any particular concern for the story or the characters. There are many interesting directorial touches and a unique atmosphere, but the film suffers from a weak script, and from overlength. Strictly for fans of the offbeat. (**)

There's a lot going on in this movie, I just look forward to the day I can finally decode it, which doesn't sound like a good sign. There seems to be something vaguly supernatural at the core of it and something about love. On the subconcious level it seems to make sense, I just can't get anywhere when I try to analyse it consiously. For those put off by the accusations of style over substance, have faith, this is an fascinating movie. There's one moment that is absolutly hair-rasing, the moment when we finally realize that Keiths mind is living in a diffirent world. The only thing that lets the film down is the ending, which looks like a Hollywood style tag-on but probably isn't. Once the car chase starts it's time to leave.

A fellow "film geek" brought this over one night and insisted I drop what I was doing so we could screen it right away. Beginning with one of the most original opening scenes in my memory to the other-worldly climax, this is an incredibly well-conceived and well-crafted movie. David Keith secures his place here in the Pantheon of film weirdos that includes Eric Roberts in Star 80. Oddly, I was so wrapped up in Keith's performance that I didn't notice the flashbacks the first time I watched the film. I think I thought that there were weird inconsistencies in the clothes and the script (uhhhh..weird, dude). Keith's madman is portrayed lovingly here and I think that's why it's so chilling. He's not one-dimensional; he's good and bad more like a good Hitchcock psycho (see Bruno in Strangers on a Train). Danielle Smith is a real treat here. She reminded me a little of Linda Manz in Days of Heaven. She has an amazing face that I couldn't stop staring at and she has a (subtly strange) way with a line ("what's a juvie?"). SEE THIS MOVIE! Tell others about it!

In the wealthy and isolated desert community of Tucson, a sound expert (David Keith) is targeted as the prime suspect of a series of brutal murders of local suburban housewives who were attacked and mutilated in their homes. Tucson is the perfect home for this killer, as it provides a mix of the "civilized" and the wild.

This is one of those titles that has faded more or less into obscurity. As I understand it, the movie was released in 1987 to critical acclaim but low box office returns, causing it never to get a proper release. At least not until Scream Factory came along and put the film on Blu-ray, along with some special features. (Unfortunately, the director had long since passed.)

The film is beautifully shot, using extensive time to show the landscape and surroundings. This does slow the picture down, which will scare some viewers off, but at least for the first half of the movie, it is more of a work of art than a thriller or horror picture. The artsy shots during the murders (not focused on the murder itself), the classical music... it is quite a feast.

Things go from subdued to bizarre in the second half. Not wanting to give anything away, I cannot even mention the strangest moments. But after the first half, you could never even guess the sort of things you will see. It is like the first half is more or less an attempt to emulate the Italian giallo (we even see nothing of the killer beyond an eye and some gloves). Then it becomes more like what we expect from Cannon Films.

Someone ought to explain what is wrong with the daughter. Is she mentally disabled or just socially awkward? But maybe that is just to contribute more to the strange vibe the film gives off. That unusual casting is contrasted with the return of Cathy Moriarty ("Raging Bull"), who had come back from a five-year acting hiatus following a serious car accident. Audiences today may know her best as the villain in "Casper", but it is great to see her in this more challenging role.

The Scream Factory audio commentary comes from Cammell biographer Sam Umland, who is surprisingly knowledgeable not just on Cammell, but on the various shots of this film and how they may be references to obscure French and Italian films. He finds many subtle hints that may or may not have been intentional, such as the parallels between the plot of the film and the plot of the opera that Paul White sings. We can also learn of the multiple homages to "Peeping Tom", most notably the use of a mirror during murder. Very, very wise decision, Scream.

The disc also comes with two deleted scenes and an interview with the Steadicam operator, Larry McConkey. (Actually, there are other interviews on the disc not listed on the case, which are very much worth your time.) For a film that has been widely forgotten, Scream pulled all the stops and gave this just about as good of a release as anyone could hope for.