Eye
for an Eye (1996)
John Schlesinger is unflinching in his cinematic outings.
Rarely does he relent in bringing some of the most vile
and horrific images to the screen. With films like "Midnight
Cowboy," "Day of the Locust" and "Pacific Heights" to
his credit, Schlesinger is well known for his uncompromising
films. Often he is accused of venting his spleen on
screen. This tradition continues with "Eye for an Eye."
Within 10 minutes of opening the film, Schlesinger
brings us glimpses of one of the most repulsive murders
to be lensed in the 90's. But Schlesinger knows how
to engross us. He gives us mere flashes and quick cuts
of the action on screen. Instead of showing us the horrible
murder, we experience it in a much more gut-wrenching
matter. While the young (17 year old) girl is being
raped and murdered in her home, we hear the attack over
a cellular telephone and watch her mother's reaction.
Sally Field is the mother and her desperation and terrified
reaction to what she is hearing is nerve clenching.
Field and Schlesinger take us right into the face of
this mothers helplessness. As when we pass by a bloody
traffic accident, we are doomed to watch this action
wide eyed with overwhelming morbid curiosity. Schlesinger
brings us this impressive segment in the film almost
immediately.
But, unlike other directors who might slow the pace
here, Schlesinger never lets up. Soon after the attack,
we are taken on a tracking shot through the debris.
It's been established that this day is a younger sister's
birthday party and the house's decor has reflected that.
Before her death, we've seen the elder daughter bring
out a cake with a Barbie doll as it's base. As Schlesinger
tracks through the colorful yet disquieting debris after
the murder, our eyes cannot help but focus on the naked
Barbie doll laying on the floor, smeared with cake frosting.
It is a haunting image.
With the stage set, Field becomes our tour-guide through
the film. She takes us through her rage and anger. When
her daughter's killer (Keifer Sutherland) is released
on a technicality, Field's face shows us all we need
to know about her inner feelings. To a lesser extent
husband Ed Harris ("The Right Stuff") and police detective
Joe Mantegna show us what the story is about but it
is Field who takes on the plot here. Her actions and
reactions become the focus.
Helped by the healing qualities she finds at a support
group for parents of murdered children, Field also finds
herself attracted to vigilante impulses. When she overhears
a conversation outside the group about such a retaliatory
measure being meted out to another child's killer, she
become intrigued and soon seeks out a way to punish
her own daughter's killer.
What happens throughout the film is a mesmerizing story.
Field's feelings guide us through the plot. When Harris
tries to sooth and Sutherland tries to incite, Field's
reaction are what we really experience. With Schlesinger's
wonderful cinematics, which rarely detract from the
action, framing the story, Field has ample room in which
to operate. She is stunning here. Called upon to run
the emotional gamut from grieving to vengeful, Field
never falters. The actress goes deep here and consistently
comes up with gold. She continues to prove herself to
be one of America's greatest actresses and this is one
of her finest (and most meaty) roles.
Sutherland, though not the real focus here, finds plenty
of time to give us the creeps. With every word out of
his mouth, he continues to outrage us. We grow to despise
him and wish him dead ourselves. So vile and repulsive
is he that we have no trouble understanding Field's
feelings. Sutherland deserves kudos for achieving so
much with so little screen time. Meanwhile Harris, and
other more minor characters played by Mantegna, Beverly
D'Angelo, and others, all play off of Field wonderfully.
Mainly, they are forced to simply careen off of her
unflinching characterization but this is exactly how
it should be.
The script from Amanda Silver and Rick Jaffa should
be cited for it's high quality as well. Based on a novel
by Erika Holzer, the screenplay allows Field and her
co-stars to work within the confines of the fine structure
of the dialogue. Schlesinger also operates well within
these boundaries. And, as a testament to the filmmaker's
great talent and the actor's excellent performances,
even the few parts which are slightly unbelievable work
well here. The finale of the film, which might seem
a bit force and unrealistic in another film, works quite
plausibly here. Schlesinger uses a prop (in a shower)
quite effectively. Then, when the ending must stretch
out just a bit, he doesn't overextend the segment with
a lengthy chase/fight sequence. Everything works out
nicely and believably here.
"Eye for an Eye" is an impressive film. Given Field's
star power and the subject matter, it's the kind of
film that all of America can relate to. This is probably
Schlesinger's most accessible film to date. The real
treat of the film is that it will also be enjoyed by
those of us who have expectations from a film that bears
John Schlesinger's moniker. There are great cinematic
moments here, interesting visuals, riveting actions
and repulsive moments that cannot help but disgust us.
When Schlesinger paints on screen, the results are always
interesting.
Note: Director of Photography is Amir M. Mokri. Music
by James Newton-Howard.
The term "an eye for an eye" comes from the Bible,
although it is never used in dialogue here.
At least two other film have used the title "An Eye
for an Eye," (note this one drops the initial article).
The first in 1966 was a Western that also used the name
"Talion." The second was a 1981 Chuck Norris vehicle.
Review written in 1996
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