Cape Fear (B+ or 3/4 stars)
Martin Scorsese boldly remakes J. Lee Thompson's classic 1962 thriller 'Cape Fear', based on John D MacDonald's novel, The Executioners. After spending 14 yrs. languoring in prison for a violent sexual assault, a cagey, tattooed, Bible-spewing Max Cady (Robert De Niro) is released & heads for tranquil, small-town North Carolina to stalk, harass, terrorize & seek vengeance on his former attorney, Sam Bowden (Nick Nolte), Sam's family, & even the family dog. Why is Max seeking vengeance? Because he blames Sam for fumbling his case by withholding evidence that could have acquitted him.
Sam has a loving, if somewhat strained marriage with his slightly neurotic wife, Julie (Jessica Lange) over past marital indiscretions and, this has affected his troubled 15 yr. old daughter, Danielle (Juliette Lewis), who is rebellious & sexually-charged. Sam also flirts with idea of having an affair with colleague, Lori (Illeana Douglas). Unrepentant Max Cady hones in on the female Bowdens as his sexual targets and, manages to get away with his reign of terror while barely staying within the thin framework of the law. When practical attempts to stop Max falls through, Sam realizes that he must act outside the law to protect his family; culminating on a houseboat in a, shall we say, incendiary climax that is sure to keep you on the edge of your seat.
Phew, what a crazy, violent thrill-ride of a movie, haha. Martin Scorsese remains very true to the source material while amping up & updating it for 1991. He hired stars from the '62 film, Gregory Peck {in his last major film appearance}, Robert Mitchum {so cool, even if it's for a bit part}, & Martin Balsam, to play different roles than the ones they played 29 yrs. prior. Scorsese even recycled Bernard Herrmann's score, employing Elmer Bernstein to do a new, resounding arrangement of it. Changes from the original? The Bowdens were your typical happy fam in the '62 version. This version? Sam is flawed, and his family is a bit eccentric. None of that justifies Max Cady's psychotic, abhorrent designs that he has for them. But the flawed nature of the family makes them more interesting than the '62 folks.
Robert DeNiro is scintillating as the fanatical, maniacal, vile, super intelligent, super strong, & super unpredictable Max Cady; one of cinema's most unhinged villains. Inflecting a redneck accent, DeNiro chews the scenery and, to prepare for the role, he worked out, had his teeth filed down, & covered his body in fake religious tattoos. DeNiro also gets to spout some insane lines of dialogue. i.e., "I'm Virgil and I'm guidin' you through the gates of Hell. We are now in the Ninth Circle, the Circle of Traitors. Traitors to country! Traitors to fellow man! Traitors to GOD!" Also, "I ain't no white trash piece of shit. I'm better than you all!" And his creepiest delivery of all: "Counselor! Come out, come out, wherever you arrrrre!" As directed by Scorsese, his Max Cady comes on like a supernatural killer who. just. won't. die. But that element of absurdity somehow works within the confines of the wacky script.
Nick Nolte, quite different from the original Gregory Peck character, gives his typically sturdy lead performance, here, as the brainy, yet flummoxed Sam who is having a hell of a time keeping his family {who have trust issues with him} safe & dispatching this lunatic. Jessica Lange is excellent - when isn't she? - as Sam's loyal, yet petrified wife. And Juliette Lewis is very effective as Sam's troublesome, over-sexed teen who initially doesn't sense the danger of flirting with nutbag, Max. Alone in the high school theater - where Lewis' Danielle assumes that Max is the new drama teacher - they tease each other, which leads to a kiss, followed by DeNiro sticking his finger into Lewis' mouth. It's an oddly titillating scene, but a brilliantly creepy one, as well.
Cinematographer Freddie Francis provides classy photography, with images that burn in my memory {I'm thinking of Max posed atop Sam's property line wall while fireworks light up the night sky behind him}. I love the richly atmospheric southern locales & the way with which they're filmed. And as mentioned, Elmer Bernstein fortifies Bernard Herrmann's already grandly ornate score to good effect. Now, sure, the script is full of implausibilities. But this thriller being based on themes of Catholic guilt & the battle btwn. good & evil makes the improbable particulars of the story go down easier. Cape Fear's purpose is to take us on a frightening roller coaster ride and, its relentless nature makes it a well-worth dive in one man's madness.
Sam has a loving, if somewhat strained marriage with his slightly neurotic wife, Julie (Jessica Lange) over past marital indiscretions and, this has affected his troubled 15 yr. old daughter, Danielle (Juliette Lewis), who is rebellious & sexually-charged. Sam also flirts with idea of having an affair with colleague, Lori (Illeana Douglas). Unrepentant Max Cady hones in on the female Bowdens as his sexual targets and, manages to get away with his reign of terror while barely staying within the thin framework of the law. When practical attempts to stop Max falls through, Sam realizes that he must act outside the law to protect his family; culminating on a houseboat in a, shall we say, incendiary climax that is sure to keep you on the edge of your seat.
Phew, what a crazy, violent thrill-ride of a movie, haha. Martin Scorsese remains very true to the source material while amping up & updating it for 1991. He hired stars from the '62 film, Gregory Peck {in his last major film appearance}, Robert Mitchum {so cool, even if it's for a bit part}, & Martin Balsam, to play different roles than the ones they played 29 yrs. prior. Scorsese even recycled Bernard Herrmann's score, employing Elmer Bernstein to do a new, resounding arrangement of it. Changes from the original? The Bowdens were your typical happy fam in the '62 version. This version? Sam is flawed, and his family is a bit eccentric. None of that justifies Max Cady's psychotic, abhorrent designs that he has for them. But the flawed nature of the family makes them more interesting than the '62 folks.
Robert DeNiro is scintillating as the fanatical, maniacal, vile, super intelligent, super strong, & super unpredictable Max Cady; one of cinema's most unhinged villains. Inflecting a redneck accent, DeNiro chews the scenery and, to prepare for the role, he worked out, had his teeth filed down, & covered his body in fake religious tattoos. DeNiro also gets to spout some insane lines of dialogue. i.e., "I'm Virgil and I'm guidin' you through the gates of Hell. We are now in the Ninth Circle, the Circle of Traitors. Traitors to country! Traitors to fellow man! Traitors to GOD!" Also, "I ain't no white trash piece of shit. I'm better than you all!" And his creepiest delivery of all: "Counselor! Come out, come out, wherever you arrrrre!" As directed by Scorsese, his Max Cady comes on like a supernatural killer who. just. won't. die. But that element of absurdity somehow works within the confines of the wacky script.
Nick Nolte, quite different from the original Gregory Peck character, gives his typically sturdy lead performance, here, as the brainy, yet flummoxed Sam who is having a hell of a time keeping his family {who have trust issues with him} safe & dispatching this lunatic. Jessica Lange is excellent - when isn't she? - as Sam's loyal, yet petrified wife. And Juliette Lewis is very effective as Sam's troublesome, over-sexed teen who initially doesn't sense the danger of flirting with nutbag, Max. Alone in the high school theater - where Lewis' Danielle assumes that Max is the new drama teacher - they tease each other, which leads to a kiss, followed by DeNiro sticking his finger into Lewis' mouth. It's an oddly titillating scene, but a brilliantly creepy one, as well.
Cinematographer Freddie Francis provides classy photography, with images that burn in my memory {I'm thinking of Max posed atop Sam's property line wall while fireworks light up the night sky behind him}. I love the richly atmospheric southern locales & the way with which they're filmed. And as mentioned, Elmer Bernstein fortifies Bernard Herrmann's already grandly ornate score to good effect. Now, sure, the script is full of implausibilities. But this thriller being based on themes of Catholic guilt & the battle btwn. good & evil makes the improbable particulars of the story go down easier. Cape Fear's purpose is to take us on a frightening roller coaster ride and, its relentless nature makes it a well-worth dive in one man's madness.