O Maníaco do Olho Branco

Writer/director Donald Cammell is a cult figure pur-sang. Not so much for the movies he actually realized, but more so for the numerous projects that couldn't get funded, were abandoned, faded out, or got heavily altered under the pressure of producers/investors. Allegedly, Cammell was a stubborn man who refused to make compromises and always oppressed his will onto others. It's even believed that dissatisfaction and frustration regarding his final film ("Wild Side") drove him to commit suicide. Twenty-five year after his death, Cammell is now referred to as a cult-directors, whereas - I'm sure - when he still alive, he was simply known as a guy with whom it was impossible to work with. Personally, I'm a giant fan of his "Demon Seed", but he himself didn't like the end result.

"White of the Eye" was going to be different for Cammell, because he was given a lot more authority and artistic freedom. Hence, since he was a self-declared expert, one would expect the film is nothing short of a masterpiece, right? Alas, ... wrong!

This is fundamentally a very basic and derivative serial killer/stalker thriller, but Cammell pretentiously disguises it as a complex and overly ambitious mystery, chock-full of references towards blurry Indian mysticism, redundant semi-artistic symbolism, a diverse but hectic soundtrack, by-the-numbers red herrings and close-ups of eyeballs. Lots and lots of eyeballs! The film starts promising enough, with an incredibly intense and steadily built-up murder sequence, but after this "White of the Eye" is shockingly dull and mundane. David Keith and Cathy Moriarty give away flawless performances, but the script is just too bland and there isn't enough story material for profound character studies. The extended footage of flying eagles and the Arizonan desert is beautiful, but if I want to see that, I'll watch nature documentaries instead.

Yes, I'm probably too skeptical in my review and rating, but that's my logical reflex in case directors are borderline arrogant.

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.

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.

This is the epitome of a sleeper gem. It's the specific combination of multi-genre elements that makes this barely known movie one of the finer pieces of 80's trash cinema that exists, and a rather singular experience. It almost feels like Oliver Stone's U-TURN was inspired by this - that's literally the only movie I can think of that this reminds me of - they are both that wild and off the rails in a similar manner.

Donald Cammell was clearly a visionary, but never really made it as a filmmaker. From what I hear, this is his finest work, and I imagine that's true - because it would be pretty tricky to top how entertaining this rollercoaster is. It's like if Lifetime did a giallo movie and it ended up being the best Lifetime movie ever made...by far. But for all the shlocky Lifetime vibes, there's just as much over-the-top 80's sleaze.

David Keith comes off as poor man's Patrick Swayze, but it really works for this movie! And Cathy Moriarty (Raging Bull, But I'm a Cheerleader, etc) is stunningly gorgeous - and acts circles around everyone else on the cast. It almost feels out of place how good her performance is - for the most part everything else is campy gold, then you have Moriarty baring her teeth and her entire soul - and basically you've got a pot full of ingredients that typically wouldn't work together, but in this case you have a daring, to-die-for meal being served - the secret recipe.

This movie is very ambitious with it's directing and editing - it's a heavily stylized movie, which will you see immediately by way of the iconic opening sequence - which honestly is one of of the best giallo style killing sequences I have EVER seen - and I say that as a huge Argento/Fulci/etc fan. This is a very special scene, within a gem of a movie. It's full of surprises! A must-see for trash cinema fans! Do yourself a favor and don't watch trailers or look too much into this movie if you're interested - just find it and watch it.