The Public Eye

Movies should be able to transport you to the time and place without much effort. "The Public Eye" does so. I saw this in -- of all places -- a redeye bus trip from New York to DC, and this only enhanced the viewing enjoyment. This is definitely a movie to "get into the mood" for 40's noir, down to the gritty life of the City After Dark.

This one keeps getting overlooked as one of the best of the 90's. See this one.

Joe Pesci plays the role of Leon "The Great Bernzini" Bernstein with accomplishment, as a kind of grubby, middle-aged everyman. Barbara Hershey, 44 when she made this movie, makes the screen sizzle by her mere presence as Kay Levitz. Pesci probably should have gotten an Oscar nomination for this performance, which is understated, sincere, and totally convincing. Some of the bit actors turn in good, solid performances with only a line or two.

The movie itself is heavy handed in spots, but director Franklin has written a number of movies and has a good ear for dialog. The mood of the piece is beautifully created and handled; camera work, lighting and music creating a real experience. The use of black and white sequences and inter-cutting of still photography is wonderfully handled. Maybe only a photographer can really appreciate the way Bernzini looks at the world as a photograph waiting to happen. People who are not willing to surrender to the experience of a movie will have less of a reaction to it.

The story is classic film noir, and more remarkable for being based on true events; blending together the great photographer Weegee (many of his photographs are actually used in the movie) and a gas-coupon scandal from the early days of American involvement in WWII. But, having said that, one misses the haunting quality this film conveys.

I picked this up at the local grocery never having heard about it before, I thought it was a comedy, it is not. Joe Pesci scores one for the little guy that nobody likes in a big way. There is one confusing thing however. Was that Walter Winchell he was supposed to be friends with? That part confused me. There was also something said about the American mob families working with the Italian mob families to overthrow Italy in the movie era 1942. Was that true? Over all I really enjoyed it and for once could not predict the outcome. If you want something a little different, this is it.

I've never rated this movie that high but I've gone back to it three times since it came out about 15 years ago on tape, so maybe I am underrating this. There still is no DVD of it, at least in Region I, and that's frustrating. There's something intriguing about this story that drives me back to it.

Perhaps that is so because it's about a photographer, something I did, too, while being in the newspaper business for years and an art form I've always enjoyed. The story also takes place in the 1940s and I love the style and atmosphere of that era which is beautifully shown here.

Joe Pesci is Leon Bernzini or "The Great Bernzini," a newspaper photographer and Barbara Hershey is a mysterious woman who Pesci has the hots for. There is a lot of mystery in here with Hershey's character. Pesci takes gruesome photos, doesn't get involved with anyone but he's willing to make an exception with "Kay Levitz" (Hershey)..... but is she good or bad for him?

Sad to say, the filmmakers kind of make a hero out of basically a sleazy guy who has few, if any, morals. ("Bernzy" was "paparazzi" before they invented the word!). The movie also has an unsatisfying ending, particularly with Hershey's character.

However, I keep getting drawn back into multiple viewings of this and I'd sure like to see what it looks like with a good DVD transfer.

I was stunned by this movie when I saw it, because I'd never heard of it before and it was so excellent. Joe Pesci puts in possibly the best performance of his career, far different than many of his other roles (in other words, he doesn't play a little angry, cursing mobster). Another great actor, Barbara Hershey, also puts in a great performance. The film is directed with subtle but powerful artistry. There are actually themes in this movie! Metaphors! Basically, it's just plain great, but of course totally overlooked because it's not your typical overdone Hollywood film. My favorite scenes are these: the part in the middle of the gun battle when Pesci's character gets a gun pointed at his head, but can only respond by lifting up his camera and taking a picture, and the very final scene when Pesci's buddy tries to turn off his police scanner and he says, "You can't turn it off." A great film.