| Review | Shattered (1991) | Director | Wolfgang Petersen |
|---|---|
| Writer | Wolfgang Petersen (Screenplay). Based on a novel by Richard Neely |
| Cast | Tom Berenger, Bob Hoskins, Greta Scacchi, Joanne Whalley and Corbin Bernsen |
“You’ve never had an affair, Mr. Merrick?” “As a matter of fact, I did…but I can’t remember who with” – Gus and Dan
The Merricks, Dan and Judith (Berenger and Scacchi), survive a catastrophic car accident on New Year’s Eve. Dan got the worse end of the deal as he went all the way down with the car while Judith was thrown clear before impact. Disfigured and suffering from amnesia; Merrick has a long way to go to get well. As multiple surgeries begin to reassemble Dan’s physical appearance, Judith stays by his side and nurses him back to health.
Once back Dan discovers he’s a businessman in the construction industry with an office in San Francisco with partner Jeb (Bernsen). All is well, particularly with Judith, until Dan discovers some evidence which may point to things not being quite alright before the accident. He gets reacquainted with Gus Klein (Hoskins), a detective he had hired before, to find out what his mind cannot unlock.
Hitchcock very memorably tackled amnesia in “Spellbound” (1945) and the dream sequences (which were a way into the protagonist’s shattered mind) were quite the visual feast. Here, director Petersen attempts something in that vein but with sudden jump cuts which show Dan’s mind suddenly attempting to unlock something but he can’t quite get there. The mystery explored in “Shattered” is very neatly set up and Dan’s gradual realization of how his life was before the accident is entertaining to watch unfold. The film never loses momentum and is always one step ahead of the viewer although by the midway point most will be able to guess at least part of the plot. But those in the know of this relatively obscure 90’s thriller remember how fantastically out-there the ultimate plot twist is and how, therefore, everything that preceded it will be taken with a grain of salt.
But as an atmospheric Hitchcockian thriller; “Shattered” rates highly. It’s very stylish visually speaking with great cinematography by Lazlo Kovacs and a terrific music score by Alan Silvestri. The cast is very good with Berenger in top form and his chemistry with Hoskins (here sporting a credible American accent) is very enjoyable. Scacchi is also very effective as Judith and Bernsen is fun in a supporting role.
The plot twist is really something and may leave a bad aftertaste for some viewers. But it’s quite a fun journey getting there and it’s shock impact is undeniable. And when there’s this much talent in front of and behind the camera of people tackling the subject matter with utmost sincerity then there’s really something there. There’s nothing quite like it…at least.
| Review | Final Analysis (1992) | Director | Phil Joanou |
|---|---|
| Writers | Robert Berger and Wesley Strick |
| Cast | Richard Gere, Kim Basinger, Uma Thurman, Paul Guilfoyle, Keith David, Robert Harper, Agustin Rodriguez, Rita Zohar and Eric Roberts |
“Yes this is crazy. It’s also very clever” – Isaac
Psychiatrist Isaac Barr (Gere) is treating a neurotic young woman, Diana (Thurman), who has recurring dreams about floral arrangements but is most likely suppressing a deep wound from childhood. Under Diana’s insistence Barr meets her sister, Heather (Basinger), and the two fall for each other. Which is not a good thing since Heather is married to shady crook Jimmy (Roberts) and is herself suffering from an ailment known as Pathological Intoxication which puts her in a serious condition if she ingests just a tiny amount of alcohol.
Thus begins a plot and twist heavy turn of events for the good shrink.
“Final Analysis” takes it’s sweet time setting things up and actually revealing where it’s headed. We get to know Isaac and his friends pretty well; lawyer Mike (Guilfoyle) who goes above and beyond for Isaac when he needs legal help and fellow doctor Alan (Harper) who also comes through in a pinch. When Isaac falls for Heather we learn how badly Jimmy treats her and some time is spent on their relationship and how debilitating her condition of Pathological Intoxication is. We’re also acquainted with criminal and petty thief Pepe (Rodriguez) whom Isaac takes under his wing much to the chagrin of Det. Huggins (David).
That’s a fair amount of characters that all get fairly good treatment and the whole set-up really pays dividends once the film kicks into gear. As for Hitchcock influences here we get shades of “Rebecca” (1940), “Marnie” (1964) and “Vertigo” (1958). Some San Francisco locations are used to good effect and there are a couple of really scenic moments in and around a lighthouse.
The story is fairly engrossing and unfolds well but, like “Shattered”, it’s fairly illogical in some instances and doesn’t lend itself well to too much scrutiny. It is, however, always entertaining and keeps the viewer guessing as to where it’s headed next. The final twenty minutes or so are really good and the film wraps up successfully. Joanou’s direction is good and his relaxed approach to the storytelling ends up being a plus. The film is also quite visually stylish, very well lensed by Jordan Cronenweth and with a rousing musical score by George Fenton.
The cast is very good. Gere is quite subdued as Isaac but quietly effective and Basinger really shines as Heather. Solid support is provided by Thurman, Guilfoyle, Harper and David but Roberts is quite the scene stealer here; very effective in his brief role as Jimmy. An unbilled Harris Yulin also makes an impression.
“Final Analysis” was not treated well by critics but did moderate box office business. As time has passed the film very rarely comes up and is deserving of a larger audience.
Physical CopIES
My copy of “Shattered” is the region A Blu-ray issued by Kino Lorber in 2015. It’s gets the A/V job done very passably without being remarkable. This could very well do with a fresh makeover but overall it’s quite solid. There are subtitles, a vintage (and brief) making of featurette and two trailers. My copy of “Final Analysis” is an age-old DVD that’s well and truly past it’s prime. The image is what you remember from mediocre DVD’s but the audio quality is quite good. This title is in dire need of a makeover and I’m hoping for a Warner Archive Blu-ray or, better yet, a 4K treatment from a boutique label like Kino. There’s a Spanish release available and I might go there if nothing else happens.
Why physical copy?
I always encourage the acquisition of physical copies as I dread the day when films will only exist as files on computers and through streaming services. The companies that put the effort into making the discs, create new artwork or reproduce the originals, issue booklets and much more deserve all the financial support they can. Therefore I will always mention the Blu-rays or DVD’s (and yes; also if I review something streamed through Netflix or the like) even though I gain nothing from it personally.
