Eyes of Laura Mars

Eyes of Laura Mars -- Horror/Thriller -- 1978

This is an old supernatural thriller of sorts from way back in the 70s'. It revolves around a female fashion/glamour photographer who lives to make crude photographic nudie art that sepcializes in scenes of violence. Some people find her "art" to be rather disturbing and horribly offensive. So someone decides to go around killing her friends and acquaintances. To make matters worse, Laura Mars can see the murders happening--through her own eyes!

Here's the breakdown:

The Good:

--Clever story, and fairly original. Adds a nice twist to the usual cops-hunting-murderer story.

--Good acting all around. Brad Dourif is creepy, Tommy Lee Jones is cool, Raul Julia is... kinda weird...

--Good atmosphere and cinematography all around, with some strong direction. The tense moments are generally pretty well done.

--Some nice, genuine, surprises throughout the film. It does manage to successfully keep you guessing just who the killer is.

Didn't Hurt It, Didn't Help:

--Contains a decent amount of fairly well-known actors including Faye Dunaway, Tommy Lee Jones, Brad Dourif (better known as Chucky from the Child's Play series), Raul Julia, and Rene Auberjonois (famous for his Star Trek: Deep Space Nine role). It was also co-written by John "Halloween" Carpenter.

--Quite a bit of nudity. She is taking pictures of naked "victims of violence" after all.

--Somewhat grotesque 70's music permeates here and there.

--Some decent character development and depth.

The Bad:

--Not quite as scary or riveting as I'm sure it was back in '78. This review being written in 2006.

--Some "logic" problems every now and then. For instance, when Laura Mars sees someone being murdered, that's all she sees--yet there are times when she seems to be able to move around, once even driving a car, with more competence than one would expect from someone who just instantly "went blind."

--Occasional dips in the quality of the atmosphere and writing.

The Ugly:

--The make-up used on the models in the 70's. Holy crap!

Memorable Scene:

--Nice climax to the film.

Fun Fact:

--The photographic art in the film is actually from professional "glamour" photographer Helmut Newton.

Acting: 8/10 , Story: 8/10 , Atmosphere: 7/10 , Cinematography: 8/10 , Character Development: 7/10 , Special Effects/Make-up: 7/10 , Dialog: 7/10 , Music: 6/10 , Direction: 9/10

Nudity/Sexuality: 5/10 , Violence: 6/10 , Gore: 3/10

Cheesiness: 2/10 , Crappiness: 0/10

Overall: 7/10

Finally, I would recommend this to hardcore horror/thriller fans or film buffs. John Carpenter or Tommy Lee Jones fans will likely enjoy it. The movie is not without its problems, small though they are, but may not be enjoyed all that well by many modern viewers.

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Jon Peters' first production as he transformed himself (with girlfriend Barbra Streisand's help) from hairdresser to movie producer, the movie is a gem of Seventies style at it's finest. The clothes, the hair, makeup, music, attitude, interiors and locations ride the crest of the high-style wave that flooded the world through the Eighties. Combining the improbable worlds of violence and fashion, with a story that centers on a famous photographer (Dunaway) and her ability to *see* her friends and colleagues being stalked and murdered, *Eyes* has moments of serious suspense, but that's hardly the reason to see this movie. Utilizing the actual photography of fashion god Helmut Newton, the film maker has exquisitely captured the 1978 New York fashion and disco scene in a way that none of the recent looks at the Seventies has been able to, but then, again, this movie was *made* in 1978, not 27 years later. The scenes of photo shoots are particularly fun to watch, with one scene portraying a burning car crash in Columbus Circle in which the models, clad in garter belts and fur coats cat-fight before the camera. The ingenuous use of *real* models add the precise amount of vacuity necessary to make the surreal shot work. Another photo shoot involves a model dead from a gunshot to his heart lying in a pool surrounded by exotically dressed disco-dancing models and a throbbing disco beat. The plot is secondary to style in this movie, and style is the only reason this movie should be remembered. Favorite moment: Darlanne Fluegel as the model Lulu haplessly trying to explain to the press *why* violence is important in fashion photos.

Laura Mars is a very successful fashion photographer who one day starts to get visions of brutal murders being carried out. Troubled and in fear for her sanity, Laura turns to the police for help. But this only adds to her problems as Detective Neville points out to her that the murder scenes bare similarities to some of her staged photographs. The pair of them must figure it out quickly because the murderer is closing in on Laura and those close to her.

In 1978, John Carpenter thrilled horror fans with his baby sitting terror piece, Halloween. Also released was this mystery/thriller/horror film, written by Carpenter and directed by Irvin Kershner {The Empire Strikes Back} which is a film that has been called anything from innovative to outright rubbish. The truth is that where Halloween is a horror film of no character substance, Eyes Of Laura Mars is a completely different animal. It's bright blending of 70s fashion photography with Carpenter's dastardly tale {tho the final draft was tampered by many}, is a success. This is a psychological thriller first and foremost, yes horror elements are there {it's a done deal with a serial killer on the loose}, but running alongside a clever romantic angle, the film gains an intensity that few other 70s psychological thrillers can boast.

The cast, other than an insipidly hammy Raul Julia, also come out rather well. Faye Dunaway {Mars}, Tommy Lee Jones {Neville}, Brad Dourif {horror staple that he is} and Rene Auberjonois give credit to well formed characters. Technically it's a fine picture as well, Irvin Kershner and his cinematographer Victor J. Kemper excellently utilise the New York City location. Especially during the fashion shoot sequences, where the 70s and its glamour is fully realised. "Innovated" blurred corridor shots to portray Laura's terrible visions are creepy and highly effective, while i would be surprised if anyone doubted the impact of a mirror shot in the glorious finale.

Thought by many to have not aged well, Eyes Of Laura Mars is often consigned to the cupboard marked "dated", that's unfair because good thrillers are good thrillers, regardless of age. Emotionally strong and pulsing with imminent terror, this is a badly undervalued, and forgotten picture. 8/10

I saw Eyes of Laura Mars a few years ago and just watched it again very recently. I remembered it as being fantastic but upon watching it again I was a little disappointed. It's a solid film, by no means bad, it's just nothing all that special.

For the past 3 years or so I've been totally hooked on giallo's and this film plays in a lot of ways like an homage to those Italian thrillers. Touches here and there remind you of Dario Argento (obsessive mirror imagery, Laura's visions etc.), Lucio Fulci, Sergio Martino and Mario Bava, such as the model settings and murder scenarios. While this film scores heavy on style (and music, though I find this soundtrack a bit hokey, but generally OK) it just lacks the magic that the best giallo's seem to have. The plot, while intriguing enough, is not nearly played out to it's full potential. There are gripping scenes here to be sure, but the film drags quite a bit and nothing virtually happens for a long period of time.

For seasoned giallo fans, we know the killer is most definitely gonna be the most unlikely one, and for a lack of suspects, I didn't find it hard to figure out who was guilty, but there's pretty much no logic to support it (but that's a giallo trademark, a pro rather than a con actually). For me, the problem is that this film doesn't have the same trashy feel and atmosphere as the best Italian thrillers it seems to be imitating. In a lot of ways I like this film, certain scenes are truly gripping but there's simply something lacking. Being a huge fan of John Carpenter, I can't help but think what he could have done had he directed this. He came up with the story and shares the credits as the writer of the screenplay and what's more, he loves the Italian giallo films as well. His own homage to the genre; Someone's Watching Me, the little known TV film was terrific and you could see that he definitely had the feel for the genre and could easily translate it to American settings. I don't feel that Kershner, as good a director as he is, has the same love for the genre as Carpenter.

I recommend watching it, it scores on a number of levels.

Sure.... Compared to the thrillers of today - it just can't compare. It seems low budget and 3rd world in quality. But it's got so much more beneath the surface.

The plot is simple - a 'High Fashion' photographer (Laura Mars) begins to have visions of brutal murders - both when sleeping and while awake. Some of these visions begin to seep into her work and her images. But soon, the visions begin to include many of her friends, acquaintances and co-workers. A homicide detective (John Neville) assigned to the case begins hanging around and trying to solve the case, including the murders involving Laura's friends. Many of Laura's friends & acquaintances get killed along the way, leaving her emotionally bereft and open to Neville's advances. I won't blow the end of the film (as others may) by giving away the twists and turns.

There are a few decent performances in the movie - including Rene Auberjunois as Laura's 'flamboyantly flaming' manager, assistant and best friend. And, how he can wear a dress....

This stylish & sometimes sexy thriller is an 8 of 10 when the age of the flick comes into consideration. Decent plot, decent acting and decent twists. And, I am sorry, but Barbara Streisand's opening song still stands as one of my all time favorite songs.... Speaking of the opening, the opening credits of the film are kinda creepy and chilling. Go rent it and decide for yourself!