Síndrome de Caim

Despite the fact that he wrote a rather unintelligent script for his 1992 effort, director Brian De Palma's "Raising Cain" is still fast, funny, and, occasionally, very scary.

In order not to reveal too much and spoil this wild little roller coaster ride, all I will say is that John Lithgow plays or at least speaks for five very different roles(!)

De Palma isn't at his all-time best, but Lithgow proves that he is one of the great character actors of our time. Rated R. 95 minutes. 6 out of 10.

This movie is fine; there are some really great moments in it, but for the most part it just feels like a slightly above par thriller. If you're looking for something to watch on a rainy Saturday morning, this isn't a bad film to land on. Lithgow is great fun to watch, De Palma's homages to Hitchcock are great, and the editing in the director's cut is pretty unique, but overall this film runs over ground already well tread upon.

This has a seemingly convoluted plot. Carter (et al., played exceptionally well by John Lithgow) begins to grow strange when he learns that his wife is having an affair with her ex. He becomes more obsessed with their young daughter and a rash of kidnapping/ killings occur. His wife (Lolita Davidovich) must figure out if he is behind the crimes or if his "dead" father, who committed experiments on children to develop multiple personality disorders, is to blame. Whew…

What makes this film interesting, other than the above-stated reasons, is that they give away one of the twists at the very first scene. The audience is already aware that Carter has multiple personalities. What makes it more intriguing is that de Palma tricks the audience with constant flashbacks, dream sequences, and appearances made by "dead" people that are not really dead.

The film starts a tad slow during the first 15 minutes and seems Lifetime Channel worthy. But as the film progresses, it gets trippier and more Hitchcockian (paranoid, obsessive, and voyeuristic with a knock out ending). Oddly enough, this is rated "R", but for very little reason. There is no nudity, minimal sex, minimal violence, and no gore at all. Most of the violence is implied and the tension comes from the suspense built by de Palma, the disturbing subject matter, and dark atmosphere.

There are a few standout scenes that will creep the viewer out. My favorite was the hospital scene. It literally had me sinking into my couch as this thing slowly turns towards me. It scared the bejesus out of me and had me rewinding to catch a glimpse again. Other noteworthy scenes include the interrogation scene where Lithgow weaves in and out of his different personalities and the ending that is incredibly reminiscent of "Dressed to Kill".

Favorite Quote: "Hickory dickory dock. Cain has picked his lock. He did a bad deed and Josh comes to bleed. Hickory dickory dock."

DVD Extras: The barebones from Universal. Only Brief Production Notes and Original Trailer.

Bottom Line: A great psychological thriller. Gorehounds should pass though. A must for de Palma and Hitchcock fans.

Rating: 7/10

Lolita Davidovich runs into former boyfriend Steve Bauer and starts a steamy affair. Her husband John Lithgow has given up his psychiatric practice to raise their daughter, and she feels neglected as he devotes all his time to their kid. After a fairly bizarre series of dream sequences, she finds out her husband isn't who she thinks he is, kicking off an odyssey of psychotic twins, not-quite-so-dead fathers, murder, child kidnappings and split personalities.

I have seen this film a couple of times, and thought it was a brave attempt that didn't really work. I've now watched the new director's cut, and while it fixes some problems ... it still doesn't work. It fixes one major problem by not front-loading a lot of reveals about Lithgow and allowing more of the film to play out as a series of revelations. However, the first part that now focuses on Davidovich, is a fairly incoherent series of scenes of her suddenly waking up and pulling the rug out from under the viewer. Strangely, this cut seems to think that the viewer will be surprised by Lithgow's true nature, but really ... it so badly telescoped that I can't imagine anyone not seeing every surprise coming a mile away.

Truth be told ... many De Palma films relay on ridiculous plot twists and silly reveals, but they do so with style and elegance. This film ultimately fails because it substitutes weird, awkward staging and clumsy sequences where you expect elegance.

If there's one word that sums up Raising Cain, it's 'audacious': Brian De Palma, a director not known for his restraint, goes all out with this crazy psychological thriller, delivering a baffling non-linear narrative, commanding a bonkers performance from star John Lithgow, and shamelessly showboating with some outrageous visual set-pieces, including plenty of his trademark slow-motion (accompanied by a lush Psycho-style score by Pino Donaggio) and an extremely impressive, very long continuous take. Raising Cain is a film that appears to be self-parodic, De Palma seemingly mocking his own ostentatious style; I don't know whether this was by design or by accident - either way, it's hard to not have fun with such a delightfully daft, OTT movie.

Lithgow plays husband and doting father Carter, whose wife Jenny (Lolita Davidovich) embarks on an affair with her previous lover, Jack (Steven Bauer). Unfortunately, unbeknownst to Jenny, her husband suffers from multiple personality disorder, and is instrumental in a spate of local kidnappings, which ultimately leads to him framing Jack for murder. The plot jumps back and forth through time, making it extremely hard to follow at times, but it eventually pulls together for the final act, in which Carter (as one of his alter-egos, Cain) and his presumed dead father (also Lithgow), threaten the life of Jenny's daughter Amy (Amanda Pombo).

In addition to the Bernard Hermann style score, De Palma references Psycho with a scene in which Carter pushes a car with his wife's body inside into a marsh, and has his villain dress up as a woman (to evade the police), but this film is not a slavish homage to all things Hitchcock: it's way too unhinged for that. And if I'm not mistaken, there's also a nod to De Palma's Italian counterpart, Dario Argento, the shot in which Jenny kneels down to hug Amy only to reveal that Carter/Cain is standing behind her being borrowed from Tenebrae.

The lunacy culminates in a wonderfully overblown, meticulously orchestrated piece of slow motion chaos that attempts to outdo De Palma's Odessa Steps sequence from The Untouchables, but the preposterous nature of proceedings renders it laughable - and consequently very entertaining if you enjoy schlocky cinema.

6.5/10, rounded up to 7 for the single take that ends in a hilarious close-up of a victim's face: even if you don't like the film as a whole, it's impossible to deny the technical brilliance of that continuous shot.