My noir sensibilities a lot more acute than they were in 1992, I revisited The Public Eye recently and liked it very, very much, probably more than when I saw it first-run 14 years ago. Loosely based on a true story about a 1940s New York freelance photographer who beats everybody to crime scenes and urban tragedies for sensational photographs, Joe Pesci gives an extraordinary performance as an urban shutterbug who sees his photos as true artwork of the human condition (even though few others do).
Normally detached and neutral from the street scenes he captures for paltry newspaper payoffs, Pesci is drawn into a gangland war when he falls for gorgeous Barbara Hershey, owner of a nightclub who is trying to hold on to her business from mob-interest encroachment. Hershey gives this shabby little man with a sordid job the compassion and understanding he's never had, initially in an attempt to get information on an acquaintance but later because she is truly taken by his compassion and worldview. They have the beginnings of an unlikely affair while the Pesci character, the Great Bernzini, learns of a plot to rub out an entire mob family. He yearns to capture it on film, even at the risk of his own life. I won't give away what happens.
The plot of this Howard Franklin written-and-directed film is almost secondary to Pesci's character study -- maybe the most nuanced of his career -- and the look of the film. As Bernzini observes his photographic subjects, he views them in gritty, noirish black-and-white even before he puts the lense to his eye, which one can appreciate a lot more having watched the great black-and-white cinematography of John Alton, James Wong Howe, Burnett Guffey, John Seitz and Nicholas Musuraca, among others. The other appealing aspect of Bernzini is how he regards his photos as a truer form of art against the fruit-in-a-bowl photographers who get their work in high-class magazines and bound into books. In an understated way, it's pretty clear the film's creative minds were attempting to convey the majesty and dimension of black-and-white photography (and cinematography) even though the film is shot in color. It's a real classy nod to noir, in my mind, beyond the story line.
Public Eye
is based on the real-life exploits of Arthur "WeeGee" Fellig, who captured New York City's wartime underbelly with amazing perspective and emotional power. Many of Fellig's photos are used in the film, and he is now regarded as one of America's great photographers of the era. Apparently Fellig was as squat and rumpled as the character Pesci plays, and did actually develop photos out of his car trunk in dark alleys as Bernzini does. But he also had excellent newspaper connections, among them New York's most powerful columnist, Walter Winchell.Pesci is the dominant performer in The Public Eye, but gets fine support from Hershey (my, was she really 44 when she did this?), Stanley Tucci and Jay Adler, perhaps more recognizable these days as Hesh on the Sopranos. Adler is magnificent as a hack play producer who finally hits it big, and conspires with Pesci at the end of the film to help him do likewise. Another familiar Sopranos actor, Dominic Chianese (Uncle Junior), does a nice turn as a ruthless mob boss.
Pesci did this role immediately following his Oscar-winning performance in Goodfellas and was an attempt to capitalize on his popularity at the time. It's too bad his big shot at leading-man stardom "didn't take" because he does such a fine job with the role. Perhaps people were waiting for the stream of expletives and or act of violence that never eventuates. It's just a superior performance all the way around.
The Public Eye is very well shot, too -- even though it's set in New York, most of the location scenes were shot in period neighborhoods of Cincinnati and Chicago -- and the score by Mark Isham enhances the film greatly. It surprises me to learn that this film only made $3 million at the box office. Perhaps it was too restrained and subtle for today's audiences, but as a noir fan, I was appreciative of this approach in a modenr film. There isn't a lot of gratuitous violence, swearing or sex, even though the film did draw an R rating. It's tame by today's standards, and it's very tastefully executed, with good bits of suspense and humor.
It took me awhile to find this film since it isn't available on DVD as of yet, a real shame and a gross oversight. I found it in one of the Bay Area's better video stores on VHS. I highly recommend the search, because this is a rewarding watch for a noir fan looking for something a little bit different. Those who have seen it but haven't checked it out in awhile should revisit. I haven't seen it discussed here as a viable, wholly enjoyable contemporary noir but it sure gets my vote.
Carl
