Insomnia File #10: Eye For An Eye (dir by John Schlesinger)

What’s an Insomnia File? You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable? This feature is all about those insomnia-inspired discoveries!


If you were awake at midnight and trying to get some sleep, you could have turned over to ThillerMax and watched the 1996 revenge thriller, Eye For An Eye.  However, the film wouldn’t have helped you get to sleep.  Eye For An Eye is not a film that you sleep through.

Eye For An Eye opens with Karen McCann (Sally Field) comforting her youngest daughter, Megan (Alexandra Kyle).  Megan is terrified of a moth that has flown into her bedroom.  “Kill it, mommy, kill it!” Megan shouts.  Instead, Karen gently takes the moth in her hand and allows it to escape through an open window.  In those first few minutes, the film tells us everything that it feels to be important about Karen.  She’s a mother.  She lives in a big house in the suburbs.  And she wouldn’t kill a moth…

But — the name of the title is Eye For An Eye and that would seem to promise killing so we know that something terrible is going to happen to change Karen’s outlook on life.

And it does!  The next afternoon, Karen is stuck in traffic and calls her oldest daughter, 17 year-old Julie (Olivia Burnette).  In an extremely harrowing sequence that is pure nightmare fuel, Karen helplessly listens as Julie is raped and murdered.

A white trash deliveryman named Robert Doob is arrested for the crime and we immediately know that he’s guilty.  First off, his name is Robert Doob and that’s a serial killer name if I’ve ever heard one.  Secondly, he smirks at Karen and her husband (Ed Harris) and, in a particularly cruel moment that was especially upsetting to this former stutterer, he imitates Julie’s stammer.  Third, Robert has tattoos and Satanic facial hair.  And finally, Robert Doob is played by Keifer Sutherland.  And usually, I find Keifer and his growl of a voice to be kinda sexy in a dangerous sorta way but in Eye For An Eye, he was so icky that he just made my skin crawl.

Robert Doob is obviously guilty but an evil liberal judge throws the case out on a technicality.  After Karen gets over the shock of seeing justice perverted, she decides to take the law into her own hands.  After meeting a professional vigilante (Philip Baker Hall, looking slightly amused no matter how grim he tries to act), Karen decides to learn how to use a gun so that she can get her revenge…

There’s not a single subtle moment in Eye For An Eye but that’s actually the main reason I enjoyed the film.  Everything — from the performances to the script to the direction to the music to … well, everything — is completely and totally over-the-top.  The symbolism is so heavy-handed and the film is so heavily stacked in favor of vigilante justice that the whole thing becomes oddly fascinating.  It may not be a great film but it’s always watchable.  It may not be subtle and it may even be borderline irresponsible in its portrayal of the American justice system but who cares?  By the end of the movie, I was over whatever real world concerns I may have had about the film’s premise and I was totally  cheering Karen on in her quest for vengeance.  I imagine I’m not alone in that.  Eye For An Eye is the type of film that elitist movie snobs tend to dismiss, even while secretly knowing that it’s actually kinda awesome.

Previous Insomnia Files:

  1. Story of Mankind
  2. Stag
  3. Love Is A Gun
  4. Nina Takes A Lover
  5. Black Ice
  6. Frogs For Snakes
  7. Fair Game
  8. From The Hip
  9. Born Killers

Back to School #23: Fame (dir by Alan Parker)


“Fuck it, if I can’t dance I’ll change to the drama department.” — Lisa (Laura Dean) in Fame (1980)

For nearly a week now, we’ve been taking a chronological look at some of the best and some of the worst films ever made about teenagers and high school.  Yesterday, we finished off the 70s with Rock ‘n’ Roll High School.  Today, we start the 80s by looking at yet another musical set in a high school.  That musical is 1980’s Fame.

Taking place at the High School For Performing Arts in New York City, Fame follows a group of students from the beginning of their freshman year to graduation four years later.  Among those students are Bruno (Lee Curreri), a musical prodigy, Coco (Irene Cara), who thinks that she’s the most talented student at the school, insecure Doris (Maureen Teefy), gay actor  Montgomery (Paul McCrane), talented but functionally illiterate dancer Leroy (Gene Anthony Ray), and self-destructive comedian Ralph Garcia (Barry Miller, giving the best performance in the film).  Over the course of four years, they fight, love, sing, and dance.  They especially do a lot of dancing, which is basically the main reason why I enjoyed the film.

Fame is the perfect film to transition into the 80s with because, in many ways, it’s a perfect combination of the 70s and the 80s.  In its use of ensemble and its emphasis on the gritty lives that the kids live outside of the school, the film is truly product of the 70s.  However, whenever the film follows the students inside of the school, it becomes very much an 80s film, the type where the emphasis is on stylistically hyper editing and emotions are just as likely to be expressed through a musical montage as through dialogue.  With its combination of the kids dreaming in the school and then facing the harsh realities outside, Fame feels like a collision of 70s pessimism and 80s optimism.

(Needless to say, pessimism usually makes for a more realistic film but optimism is a lot more fun to watch.)

Not surprisingly, for a film that made and released 34 years ago, a lot of Fame feels very dated.  (What is surprising is that the 2009 remake feels even more dated.)  It’s difficult not to cringe at the sight of all the leg warmers and big hair on display.  The same can be said for the synthesizer-heavy soundtrack but, to be honest, I like 80s music.  It may be cheesy but you can dance to it and really, what more can you ask from music?  If nothing else, Fame serves as a valuable time capsule of the time that it was made and yes, I know that I’ve been saying that about a lot of movies lately but hey, it’s true!  And I happen to love time capsules.  So there.

And besides, dated as the film may be, Fame does get the big things right.  It captures that feeling that we all had in high school, that feeling that you are destined for greater things and that, as long as you believe in yourself, good things will automatically happen to you.  It captures the wonderful feeling of not only being creative and talented but also knowing that you are talented and creative..

The film is full of hints that the majority of the students at the high school will probably eventually be forced to give up on their dreams.  A popular and handsome student is first seen graduating and full of confidence, just to pop up again an hour later, working as a waiter and looking desperate.  Haughty Coco goes to an audition and ends up in tears after a sleazy producer tells her to undress.  Ralph performs his stand-up comedy and, exhausted after going for days without sleep, ends up bombing.  Leroy is offered a chance to dance professionally but first he has to try to talk his English teacher into giving him a passing grade while she mourns for her husband, who died just a few hours earlier.  It’s actually a pretty dark movie but it’s hopeful too because, by the end of it, you realize that not all of the characters are going to make it but at least they’re going to have a chance to try.