capone666 The Public EyeBefore snapping the shot, the key to hip crime photography is ensuring the victim is wearing Ray-Bans.In the 1940s, however, fatalities had to be photographed wearing Bobby socks, like the ones in this crime-drama.Known for his inexplicable ability to be at a crime scene minutes after occurring, photographer Bernzy (Joe Pesci) makes his scratch selling snaps to the rags.One day a bar owner (Barbara Hershey) who claims she is being strong-armed by gangsters approaches Bernzy to find someone.Blinded by his infatuation with her, he agrees.But when that someone turns up dead, Bernzy becomes the prime suspect.Inspired by a real-life crime photography known for his prescient instinct, The Public Eye is a gritty film crime-noir with sharp dialogue, shadowy backdrops, and a suspenseful script.Incidentally, 1940s crime photographers make the worst fugitives since they always leave a trail of used flash bulbs in their wake.(Green Light)vidiotreviews.blogspot.ca

secondtake The Private Eye (1992)This is a fictionalized story of the very real NYC crime photographer Weegee, and if you've seen pictures of Weegee or heard his story, Joe Pesci is the perfect cast for the role, coming right after "Goodfellas." He nails it, a terrific performance, even down to handling the cameras well.Too bad the rest of the film is hit or miss. Maybe on the hit (good) side is the general set design and atmosphere. It feels like a slightly simplified and cleaned up 1942 Manhattan (where most or all of this occurs). And Barbara Hershey as the leading woman (not quite a femme fatale, it seems, but she has that look) is solid, especially with her hair up. You'll see, a good strong look. And the cameras are pretty right on (I'm a photographer, and I shoot with one of these 4x5 Graflex press cameras all the time), though at a glance it seemed that at least one of his Graflexes was a post-war model. We'll let that slip. And on the plus side it has to be said that Mark Isham's last minute hiring for the score was inspired, because it gives the movie the depth it needs.The misses on the film are deeply integral to enjoying it all the way--the plot, the secondary actors, the direction. The latter is hard to pin down within the obvious and almost purposely clichéd plot, but you feel all along that the movie is put together functionally, as if the director knows most of all that these pieces have to go in order. But giving it flow, elegance, power, and even a convincing mise-en-scene is not just a matter of logic. It feels off, as it out of tune. It's especially noticeable because so much of the film is going right, including Pesci.There is the question of why did they take Weegee (a.k.a. Arthur Fellig) and turn him into Bernzini (a.k.a. Leon Bernstein)--apparently it was a rights issue with the original story, but certainly the new story could have still been based on Weegee. The images in the film look like pseudo-Weegee moments as much as Pesci looks like Weegee, and Wikipedia says that some of these are actual Weegees. (I have my doubts, but who knows?) Both men had outrageous rubber stamps for the back of their prints that are almost identical--Weegee's said "Weegee the Great." The car is identical, for sure, and even the pace and the world are Weegee's.Beyond all of this, the movie is entertaining if never commanding, and quite beautifully photographed--I'm talking the cinematography, now. My copy was VHS, and it doesn't sound like the DVD service through Amazon called the Universal Vault Series has very high standards (one user said it looked like VHS quality). I would think a full widescreen version would be worth the trouble--maybe try an Amazon instant play for $3. This says specifically that it is widescreen.

lastliberal I am so used to seeing Joe Pesci as a mobster (Goodfellas, Casino, Once Upon a Time in America) that I never imagined him in any other role. Well, he certainly surprised me in this noir film as a photographer who took great pride in his work and never let his feeling get in the way - until this one time, and it almost cost him his life.Pesci was outstanding as the lonely photographer who imagined he could have a relationship with the gorgeous Barbara Hershey (The Portrait of a Lady, A World Apart, The Last Temptation of Christ). He trusted and had his heart ripped out. Isn't that usually the case! This is not a great film (written & directed by Howard Franklin), but it was entertaining to see another side of Pesci. Great work also by Stanley Tucci.

eolas_pellor Joe Pesci plays the role of Leon "The Great Bernzini" Bernstein with accomplishment, as a kind of grubby, middle-aged everyman. Barbara Hershey, 44 when she made this movie, makes the screen sizzle by her mere presence as Kay Levitz. Pesci probably should have gotten an Oscar nomination for this performance, which is understated, sincere, and totally convincing. Some of the bit actors turn in good, solid performances with only a line or two.The movie itself is heavy handed in spots, but director Franklin has written a number of movies and has a good ear for dialog. The mood of the piece is beautifully created and handled; camera work, lighting and music creating a real experience. The use of black and white sequences and inter-cutting of still photography is wonderfully handled. Maybe only a photographer can really appreciate the way Bernzini looks at the world as a photograph waiting to happen. People who are not willing to surrender to the experience of a movie will have less of a reaction to it.The story is classic film noir, and more remarkable for being based on true events; blending together the great photographer Weegee (many of his photographs are actually used in the movie) and a gas-coupon scandal from the early days of American involvement in WWII. But, having said that, one misses the haunting quality this film conveys.