O Maníaco do Olho Branco

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.

Right near the opening, there's a very brutal and stylized murder of a woman (and her goldfish). The police identify an Indian-style compass made out of objects on a counter. This type of compass of colored objects, and an actual compass recur several times throughout the movie, but to what purpose, I don't know.

A man who makes custom sound systems for people lives with his wife and daughter. She had been traveling from New York City to Los Angeles with her boyfriend, but they stopped in Arizona to repair his stereo after she ruined it in a fit of anger. That's when she met the sound guy, and she left her boyfriend for him.

The sound guy's van's treads match those of the killer, though there's at least forty others with the same kind.

The movie is pretty well-made, and well-acted until towards then end when it gets pretty outrageous after the killer is identified. In a real groaner of a scene, someone comes out of nowhere to try to save the day. And then what happens to the killer is downright ridiculous.

I saw this on a pan & scan videotape. Given the director's artistic bent and the Arizona setting, widescreen would definitely be an improvement. Evidently about ten minutes were cut from the film to get an R rating (the MPAA is criminally insane), so perhaps an uncut version would be an improvement. Interesting film, disappointing final reel. Critic Steven Jay Schneider has a long article about the movie and director (see external reviews) that is worth reading.

"White of the Eye" has a promising beginning as an unseen killer stalks and butchers an unsuspecting female. The kill scene is effectively cut between slicing flesh and a struggling goldfish gasping for air. David Keith and Cathy Motiarity along with some recognizable supporting actors do their best to save this stylish film. Unfortunately intriguing images alone cannot overcome a seriously muddled script. Numerous flashbacks and an overlong running time cause things to steadily spiral out of control. Eventually craziness prevails with stories of black holes and evolution deficiencies overtaking logic. The movie drags on until the final scenes in a gigantic quarry, where everything ends with a bang. - MERK

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!

Only his third film in 17 years, Scottish director Donald Cammell followed his mind and identity-bending psychedelic masterpiece Performance (1968) and the studio-butchered Demon Seed (1977) with another oddity, the strange and confusing, yet nonetheless effortlessly intriguing White of the Eye. Cammell killed himself shortly after seeing his final film, Wild Side (1995), heavily censored by an appalled producer, at the end of what seemed like a frustrating career. It's a shame he wasn't allowed more opportunities to direct features, as although White of the Eye sometimes steers into TV-movie aesthetic and features an unnecessarily overblown climax, it is something to be savoured and thought about a long time after the credits roll.

After a series of brutal murders of upper-class women, tire tracks left by the killer leads Detective Charlie Mendoza (Art Evans) to sound expert Paul White (Keith David). We learn through flashbacks the meeting of Paul and his now-wife Joan (Cathy Moriarty), and how he stole her away from her boyfriend Mike Desantos (Alan Rosenberg). There's something not quite right about Paul - he has the strange ability to omit a sound that echoes through his head, allowing him to hear at what point in a room that the sound from speakers should come from. Mike knows something too, and when Joan discovers Paul's secret affair, she slowly uncovers who her husband really is.

There's not really much point trying to unravel the mysteries in the movie, as it will leave you with a headache. Below the surface of giallo-esque murders and the sleazy Lynchian atmosphere, there seems to be a mythology happening somewhere. At one point, Paul whispers "I am the One,". Is this really a deeper story than it lets on, or is Paul just simply a narcissistic loon? Whatever it is, the film works better if you just let it play out, as the film has a lot to offer in terms of style. The soundtrack, by Rick Fenn and Pink Floyd's Nick Mason, is a powerful presence, and drums up a dusty, apocalyptic feel reminiscent of Richard Stanley's Dust Devil, which came out 5 years later.

David's performance is also impressive, especially in the latter stages when he is let off the leash. But it's about the only good thing about the climax, which tries too hard to be a number of different things and fails in just about every one of them. It becomes almost generic, with car chases and a stalk-and-slash set-piece, completely betraying the slow-build that came before. Whether Cammell was simply trying to appease his producers or indulging in mainstream aspirations, I don't know. Still, this is a bizarre little treat; uncomfortable and distinctive, cementing it's status as a must-see for fans of cult oddities.

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