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In the wealthy and isolated desert community of Tucson, a sound expert (David Keith) is targeted as the prime suspect of a series of brutal murders of local suburban housewives who were attacked and mutilated in their homes. Tucson is the perfect home for this killer, as it provides a mix of the "civilized" and the wild.

This is one of those titles that has faded more or less into obscurity. As I understand it, the movie was released in 1987 to critical acclaim but low box office returns, causing it never to get a proper release. At least not until Scream Factory came along and put the film on Blu-ray, along with some special features. (Unfortunately, the director had long since passed.)

The film is beautifully shot, using extensive time to show the landscape and surroundings. This does slow the picture down, which will scare some viewers off, but at least for the first half of the movie, it is more of a work of art than a thriller or horror picture. The artsy shots during the murders (not focused on the murder itself), the classical music... it is quite a feast.

Things go from subdued to bizarre in the second half. Not wanting to give anything away, I cannot even mention the strangest moments. But after the first half, you could never even guess the sort of things you will see. It is like the first half is more or less an attempt to emulate the Italian giallo (we even see nothing of the killer beyond an eye and some gloves). Then it becomes more like what we expect from Cannon Films.

Someone ought to explain what is wrong with the daughter. Is she mentally disabled or just socially awkward? But maybe that is just to contribute more to the strange vibe the film gives off. That unusual casting is contrasted with the return of Cathy Moriarty ("Raging Bull"), who had come back from a five-year acting hiatus following a serious car accident. Audiences today may know her best as the villain in "Casper", but it is great to see her in this more challenging role.

The Scream Factory audio commentary comes from Cammell biographer Sam Umland, who is surprisingly knowledgeable not just on Cammell, but on the various shots of this film and how they may be references to obscure French and Italian films. He finds many subtle hints that may or may not have been intentional, such as the parallels between the plot of the film and the plot of the opera that Paul White sings. We can also learn of the multiple homages to "Peeping Tom", most notably the use of a mirror during murder. Very, very wise decision, Scream.

The disc also comes with two deleted scenes and an interview with the Steadicam operator, Larry McConkey. (Actually, there are other interviews on the disc not listed on the case, which are very much worth your time.) For a film that has been widely forgotten, Scream pulled all the stops and gave this just about as good of a release as anyone could hope for.

Only his third film in 17 years, Scottish director Donald Cammell followed his mind and identity-bending psychedelic masterpiece Performance (1968) and the studio-butchered Demon Seed (1977) with another oddity, the strange and confusing, yet nonetheless effortlessly intriguing White of the Eye. Cammell killed himself shortly after seeing his final film, Wild Side (1995), heavily censored by an appalled producer, at the end of what seemed like a frustrating career. It's a shame he wasn't allowed more opportunities to direct features, as although White of the Eye sometimes steers into TV-movie aesthetic and features an unnecessarily overblown climax, it is something to be savoured and thought about a long time after the credits roll.

After a series of brutal murders of upper-class women, tire tracks left by the killer leads Detective Charlie Mendoza (Art Evans) to sound expert Paul White (Keith David). We learn through flashbacks the meeting of Paul and his now-wife Joan (Cathy Moriarty), and how he stole her away from her boyfriend Mike Desantos (Alan Rosenberg). There's something not quite right about Paul - he has the strange ability to omit a sound that echoes through his head, allowing him to hear at what point in a room that the sound from speakers should come from. Mike knows something too, and when Joan discovers Paul's secret affair, she slowly uncovers who her husband really is.

There's not really much point trying to unravel the mysteries in the movie, as it will leave you with a headache. Below the surface of giallo-esque murders and the sleazy Lynchian atmosphere, there seems to be a mythology happening somewhere. At one point, Paul whispers "I am the One,". Is this really a deeper story than it lets on, or is Paul just simply a narcissistic loon? Whatever it is, the film works better if you just let it play out, as the film has a lot to offer in terms of style. The soundtrack, by Rick Fenn and Pink Floyd's Nick Mason, is a powerful presence, and drums up a dusty, apocalyptic feel reminiscent of Richard Stanley's Dust Devil, which came out 5 years later.

David's performance is also impressive, especially in the latter stages when he is let off the leash. But it's about the only good thing about the climax, which tries too hard to be a number of different things and fails in just about every one of them. It becomes almost generic, with car chases and a stalk-and-slash set-piece, completely betraying the slow-build that came before. Whether Cammell was simply trying to appease his producers or indulging in mainstream aspirations, I don't know. Still, this is a bizarre little treat; uncomfortable and distinctive, cementing it's status as a must-see for fans of cult oddities.

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Right near the opening, there's a very brutal and stylized murder of a woman (and her goldfish). The police identify an Indian-style compass made out of objects on a counter. This type of compass of colored objects, and an actual compass recur several times throughout the movie, but to what purpose, I don't know.

A man who makes custom sound systems for people lives with his wife and daughter. She had been traveling from New York City to Los Angeles with her boyfriend, but they stopped in Arizona to repair his stereo after she ruined it in a fit of anger. That's when she met the sound guy, and she left her boyfriend for him.

The sound guy's van's treads match those of the killer, though there's at least forty others with the same kind.

The movie is pretty well-made, and well-acted until towards then end when it gets pretty outrageous after the killer is identified. In a real groaner of a scene, someone comes out of nowhere to try to save the day. And then what happens to the killer is downright ridiculous.

I saw this on a pan & scan videotape. Given the director's artistic bent and the Arizona setting, widescreen would definitely be an improvement. Evidently about ten minutes were cut from the film to get an R rating (the MPAA is criminally insane), so perhaps an uncut version would be an improvement. Interesting film, disappointing final reel. Critic Steven Jay Schneider has a long article about the movie and director (see external reviews) that is worth reading.

The term sleeper is overused but I think it applies to this movie. It's got one of those titles like "The Stepfather" and "Cop," titles that are bad and misleading and really don't give you a sense of how well-made the film is. Like the other movies, White of the Eye benefits from an intense performance by its leading man. David Keith has always been underused in movies but there was a period in the early '80s when he seemed to be on the brink of major stardom. In this movie, he completely loses it and becomes a suburban monster; those looking for the appealing David Keith from An Officer & a Gentleman or The Lords of Discipline should look elsewhere. Cathy Moriarity was less effective as she will always be typecast as the tough New York broad. She seemed a little out of place in Tucson, Arizona. I recommend this movie for the same reasons I recommend The Stepfather, Cop, and The Reflecting Skin--I saw these movies years ago and they really left impressions I can't seem to shake.

"White of the Eye" has a promising beginning as an unseen killer stalks and butchers an unsuspecting female. The kill scene is effectively cut between slicing flesh and a struggling goldfish gasping for air. David Keith and Cathy Motiarity along with some recognizable supporting actors do their best to save this stylish film. Unfortunately intriguing images alone cannot overcome a seriously muddled script. Numerous flashbacks and an overlong running time cause things to steadily spiral out of control. Eventually craziness prevails with stories of black holes and evolution deficiencies overtaking logic. The movie drags on until the final scenes in a gigantic quarry, where everything ends with a bang. - MERK

What we have here is a clear case of a movie that tries to get by on sheer style, without any particular concern for the story or the characters. There are many interesting directorial touches and a unique atmosphere, but the film suffers from a weak script, and from overlength. Strictly for fans of the offbeat. (**)

Writer/director Donald Cammell is a cult figure pur-sang. Not so much for the movies he actually realized, but more so for the numerous projects that couldn't get funded, were abandoned, faded out, or got heavily altered under the pressure of producers/investors. Allegedly, Cammell was a stubborn man who refused to make compromises and always oppressed his will onto others. It's even believed that dissatisfaction and frustration regarding his final film ("Wild Side") drove him to commit suicide. Twenty-five year after his death, Cammell is now referred to as a cult-directors, whereas - I'm sure - when he still alive, he was simply known as a guy with whom it was impossible to work with. Personally, I'm a giant fan of his "Demon Seed", but he himself didn't like the end result.

"White of the Eye" was going to be different for Cammell, because he was given a lot more authority and artistic freedom. Hence, since he was a self-declared expert, one would expect the film is nothing short of a masterpiece, right? Alas, ... wrong!

This is fundamentally a very basic and derivative serial killer/stalker thriller, but Cammell pretentiously disguises it as a complex and overly ambitious mystery, chock-full of references towards blurry Indian mysticism, redundant semi-artistic symbolism, a diverse but hectic soundtrack, by-the-numbers red herrings and close-ups of eyeballs. Lots and lots of eyeballs! The film starts promising enough, with an incredibly intense and steadily built-up murder sequence, but after this "White of the Eye" is shockingly dull and mundane. David Keith and Cathy Moriarty give away flawless performances, but the script is just too bland and there isn't enough story material for profound character studies. The extended footage of flying eagles and the Arizonan desert is beautiful, but if I want to see that, I'll watch nature documentaries instead.

Yes, I'm probably too skeptical in my review and rating, but that's my logical reflex in case directors are borderline arrogant.

Shamefully neglected thriller from director Donald Cammell is an outstanding and disturbing character study!

Arizonia family man becomes the chief suspect when some local women are violently murdered, but is this charming man the real killer?

White of the Eye is a bizarre trip of a thriller that's quite unlike any other film of the thriller/horror genre. Director Donald Cammell gives this film such incredible and dazzling style that one almost becomes hypnotized at times. It's a must-see for those who enjoy art house films. Cammell has a terrific talent for inventive cinematography and well uses the parched filming locations of Globe, Arizona. A nicely atmospheric music score also helps to set up the rather primitive-like setting of the film. Cammell also sets up some truly frightening and creative murder sequences. The story, based upon Margaret Tracy's novel Mrs. White, is a strangely compelling mystery with some great turns and taught suspense. Its a well-paced shocker that escalates to tremendous tension and a excellently executed finale.

The films stars are another true highlight. Heroine Cathy Moriarty does a genuinely believable performance as the troubled housewife. Greatest of all though is David Keith. Keith does perhaps his all-time best role with this film. He comes off in a wonderfully charming, and oddly erotic, light. Yet he's also nicely dynamic and manages to turn what could have been a clichéd or over-the-top character into a convincing human. Hollywood needs more David Keiths!

Why such an intelligent and finely-made suspense film never became a recognizable classic is simply beyond me. White of the Eye is a completely unique, engulfing, and haunting film. For those who are seeking a 'lost' classic, this film is a TRUE lost classic.

**** out of ****

Tucson hi-fi engineer Paul White (David Keith) finds himself suspected of several brutal murders and must convince the cops that he is innocent: hardly an original set-up for a movie, but director Donald Cammell's approach is far from standard, with an experimental visual style, random exchanges of dialogue, unconventional editing, and a narrative that develops in an unpredictable fashion, all of which makes White of the Eye an offbeat, occasionally impenetrable, but undeniably unique experience.

Cammell draws inspiration from the giallo for his first murder scene, which is shot in ultra-stylish fashion, with extreme close-ups of the killer's eye. During a bath-tub drowning, the murderer holds up a mirror to the victim's face so that she can see herself die, echoing Michael Powell's classic Peeping Tom (1960). Other scenes (including several flashbacks to how Paul met his wife Joan, played by Cathy Moriarty) possess an art-house vibe that, coupled with the impressive imagery, give the film a somewhat surreal atmosphere.

In the film's major plot twist, Joan discovers a secret stash of bagged, bloody body parts hidden in a cavity underneath the family bath: it turns out that Paul is the killer after all! From here-on in, the film goes into bonkers over-drive, with Paul displaying his true colours to his wife and young daughter Danielle (Danielle Smith), allowing Keith to give a truly deranged performance. Paul puts his hair into a man-bun, paints his face red, straps explosives to his body, and begins talking complete nonsense, giving Joan serious cause for concern, despite his proclamations of love.

The film also throws in some mysticism regarding the positioning of objects to symbolise the points on an ancient Indian compass, but the relevance of this is never really explained.

It's all a bit weird, but, at the same time, quite entertaining. 5.5/10, rounded up to 6 for IMDb.

Jagged plot points transpire without any real coherency as unpleasant characters exist in unpleasant situations that play out amid a serial killer's murders. But somehow none of that matter because it's a love story. The storyline can't keep a straight path through this mess of a film. Don't even try to comprehend the heavy handed attempts of symbolism or avante garde elements and score choices. They will simply just conk you on the head.

This is the epitome of a sleeper gem. It's the specific combination of multi-genre elements that makes this barely known movie one of the finer pieces of 80's trash cinema that exists, and a rather singular experience. It almost feels like Oliver Stone's U-TURN was inspired by this - that's literally the only movie I can think of that this reminds me of - they are both that wild and off the rails in a similar manner.

Donald Cammell was clearly a visionary, but never really made it as a filmmaker. From what I hear, this is his finest work, and I imagine that's true - because it would be pretty tricky to top how entertaining this rollercoaster is. It's like if Lifetime did a giallo movie and it ended up being the best Lifetime movie ever made...by far. But for all the shlocky Lifetime vibes, there's just as much over-the-top 80's sleaze.

David Keith comes off as poor man's Patrick Swayze, but it really works for this movie! And Cathy Moriarty (Raging Bull, But I'm a Cheerleader, etc) is stunningly gorgeous - and acts circles around everyone else on the cast. It almost feels out of place how good her performance is - for the most part everything else is campy gold, then you have Moriarty baring her teeth and her entire soul - and basically you've got a pot full of ingredients that typically wouldn't work together, but in this case you have a daring, to-die-for meal being served - the secret recipe.

This movie is very ambitious with it's directing and editing - it's a heavily stylized movie, which will you see immediately by way of the iconic opening sequence - which honestly is one of of the best giallo style killing sequences I have EVER seen - and I say that as a huge Argento/Fulci/etc fan. This is a very special scene, within a gem of a movie. It's full of surprises! A must-see for trash cinema fans! Do yourself a favor and don't watch trailers or look too much into this movie if you're interested - just find it and watch it.

A fellow "film geek" brought this over one night and insisted I drop what I was doing so we could screen it right away. Beginning with one of the most original opening scenes in my memory to the other-worldly climax, this is an incredibly well-conceived and well-crafted movie. David Keith secures his place here in the Pantheon of film weirdos that includes Eric Roberts in Star 80. Oddly, I was so wrapped up in Keith's performance that I didn't notice the flashbacks the first time I watched the film. I think I thought that there were weird inconsistencies in the clothes and the script (uhhhh..weird, dude). Keith's madman is portrayed lovingly here and I think that's why it's so chilling. He's not one-dimensional; he's good and bad more like a good Hitchcock psycho (see Bruno in Strangers on a Train). Danielle Smith is a real treat here. She reminded me a little of Linda Manz in Days of Heaven. She has an amazing face that I couldn't stop staring at and she has a (subtly strange) way with a line ("what's a juvie?"). SEE THIS MOVIE! Tell others about it!

A surreal mashup of a Dukes of Hazzard rerun with several DePalma films. A most peculiar pelicula indeed. Odd moments of goofy humor and gushing gore, often in the same sequence. The Bronx Blonde's best performance since Raging Bull, scumbag accent and all. The kid that looks like the killer dwarf from Don't Look Now is memorable as well. Strange how some of the scenes are shot with raw egg white clarity, while others have a milky, blurriness to them. Knowing Cammell's background in art, this may have been intentional. Once again, Cammell casts an inept lead man (David Keith), he had a dense history of undermining himself this way (remember Jagger in Performance?)...but maybe it was the film company undermining him? Welp, too late to ask. Awfully nice to see his beautiful wife China in a cameo role; so graceful, even in the gamey maw of madness that is this film. Man, you never know the weight of that last straw.

Great cast but horrible directing, and boring story line with only 3 murders and not enough story to keep you waiting till the end which was ok but bland. Don't waste your time.

Donald Cammell was a rare talent but perhaps like another talented Brit, Ken Russell, could become obsessed and then unrestrained, go just that little bit too far. Here is a near perfect film of excess, a fearful portrait of a serial killer we do not know (for certain) and through whom we see most of the action. The killings have been described as 'giallo' like and I get the comparison with the glorious Italian exploitation movies. Like in gialli, this is wonderfully shot with glorious interiors, all the better to be splattered with blood. Horrible deaths, macabre body disposal and a narrative constantly moving at a very fast pace. The performances are great, the film always looks tremendous and we are kept wondering almost till the end. And it is the end I take issue with - we really didn't need a car chase and an explosion. The tale had been well told and we had had a hard enough ride. The excess at the end may have seemed like a good idea but someone should have seen it really wasn't necessary, that it was overkill. Great film though, nevertheless.

In Tucson, Arizona, housewives are being murdered by a serial-killer. Detective Charles Mendoza (Art Evans) is hunting down the criminal and is investigating the suspect Paul White (David Keith). He is a sound expert, married with Joan White (Cathy Moriarty) with a daughter, Danielle White (Danielle Smith) and his truck has the same expensive tires that Mendoza found the marks in the last crime scene. Ten years ago, Joan was the girlfriend of Mike Desantos (Alan Rosenberg) that she left after knowing Paul. Now he wants to prove his innocence but Joan finds secrets about her beloved husband.

"White of the Eye" is a thriller with a promising beginning with the murder of a woman and the police investigation, Then, the screenplay becomes a melodramatic mess, with flashbacks of the previous relationship of Joan with Mike. Paul's insanity has an awful conclusion in the quarry, when Mike surprisingly reappears. My vote is six.

Title (Brazil): "O Maníaco do Olho Branco" ("The Maniac of the White Eye")

I took a chance on this as it was (a) billed as an 80s slasher, and (b) in a shop display with other Arrow blu-ray releases such as Argento's brutal classic TENEBRAE, and the awesomely inept bucket of winning failure that is CONTAMINATION.

White Of The Eye is a completely different sort of 80s slasher though - in fact not really a slasher at all, more like a very laid back, slow paced drama. The acting's good, the direction is solid, the script is fine - but so what. The atmosphere of vaguely quirky characters in small-town Americana almost made it feel like a Coen Bros film, but with zero laughs. It was too low-key, slow paced and talky to actually maintain my interest, and I gave up after about an hour. Not a 'bad' film, just not my particular cup of cinema...