Raising Cain

Tags

1990's, Brian De Palma, Frances Sternhagen, John Lithgow, Lolita Davidovich, Psychological Thriller, Raising Cain, Steven Bauer

Film Title

Raising Cain

Director

Brian De Palma

Starring

• John Lithgow as Carter Nix/ Cain
• Lolita Davidovich as Jenny
• Steven Bauer as Jack
• Frances Sterhangen as Dr Lynn Waldheim

A twisting and frequently outrageous psychological thriller from Brian De Palma, Raising Cain is thoroughly enthralling and full of stunning cinema technique, complete with a story that keeps getting you to question the certainty of it. I wouldn’t put it as the best thriller around because of some parts that go way too complicated and unnecessary, but overall the sheer outrageousness helps to make it a feverish delight.

Carter Nix is a mild-mannered child psychologist who has taken time out of work to help raise his young daughter Amy with his wife Jenny, who works as a nurse. Lately though, Carter has become unnervingly attached to his daughter that becomes even more peculiar as the film progresses. At the start, Jenny can’t quite see this though there are hints dropped that become noticeable to her. What is unknown to Jenny is the fact that the seemingly benign Carter is somehow involved in a horrifying experiment, which is where his alter ego of Cain comes in. Cain arises whenever Carter can’t do something and it is frequently nasty. The aforementioned experiment is for their doctor father; they kill mothers and take their young children all in the hopes of helping him with his maniacal studies of personality. Yet it is largely Cain who does these unspeakable acts, even though it weighs more than a little heavy on Carter and bleeds into him. He has lately taken to being overly concerned and almost studying in his treatment of his young daughter, which is a major cause for concern. His behaviour and mood swings begin to alarm Jenny, who fears for her daughter without realising the whole truth of it all. Meanwhile, Jenny herself is having to deal with her own dilemmas. The biggest one is Jack; a former flame of hers who returns out of the blue and still has feelings for her. Jenny soon gives in to temptation and ignites their affair again. Carter’s alter ego of Cain really begins to take over once he witnesses his wife engaging in her affair, leading to shocking consequences and startling revelations that are not what they seem.

Brian De Palma is the stylish man behind the camera and his stamp is well and truly on Raising Cain, complete with the customary homages to Hitchcock. Flourishes of visual astuteness and exceeding panache can be viewed in almost every frame of Raising Cain. You can’t fault De Palma for his visionary way of shooting, its gorgeous even when filled with terror. The sweeping camera , including a simply sublime long tracking shot, that lasts for a number of minutes as the history of Carter’s family is brought into the light by the doctor on the case. The many dreamlike scenes of Raising Cain come equipped with an eerie but strangely beautiful chill, that wraps them and subsequent scenes in that otherworldly grip that plays into the deceptive plot. And while a lot of the film is over the top, it suits De Palma’s style with operatic touches and a significant amount of tongue in cheek to the approach. Instead of it getting to be a parody, there is serious tension and suspense supplied. Add to that layers of whether we are witnessing dreams or reality at various points, and you can’t help but be compelled by Raising Cain. Doubles, flashbacks( or are they?) and an all around creepiness make for a heady brew. The film isn’t a titanic piece of classic movie making though, as there are flaws. Firstly, although it doesn’t fully go into parody or lampooning, it can get pretty ridiculous with some of its moves I must say. At times, some of it slips out of control and it bites off more than it can chew with a couple of parts that slip into unintentionally funny, though the mastery of De Palma’s direction and vision is still very much on show among these weaknesses. A bit more logic may have been of use in Raising Cain as the pudding does get over egged a lot, but the largely over the top narrative and twisted turns paper over some of these cracks. From what I’ve seen out of his movies, Raising Cain is a bit underrated as I haven’t heard that many people talk about it. And while it’s not a work of genius in comparison to some of his other more noted works, it shows enough skill and cinematic technique to be held in higher regard, at least a little bit more than it is. There are many times when you think you’ve got a hold on things and then the whole thing switches and you’re left to reassess them, owing to the complex and fiendish machinations of the plot. This is where the strong points of the film lies as genuine feelings of unease emerge swiftly once certain truths or something resembling that are exposed. A simply luscious and sinister score begins with an almost childlike tone that morphs into moments of shattering crescendo, much like the character of Cain and his other personality.

John Lithgow relishes his roles as Carter and Cain. He skilfully displays the different natures of both with Carter being terrified yet obsessed and Cain being the violent and underhand side. Lithgow manages to make it all very thrilling and unnerving to watch, as he occasionally blurs the lines between the two with considerable menace. He is the captivating centre of this movie and a lot of that is seen through his performance. Unfortunately, I found that Lolita Davidovich was more than a little wooden playing the terrorized wife. Now she did show some convincing moments of fear, but I couldn’t help but feel that she was too indecisive when acting in the part to truly make it work. She looked gorgeous though and her beauty is very becoming. Steven Bauer makes up for things as the handsome object of Jenny’s affections who inadvertently becomes the thing that allows Cain to fully surface with maniacal intent. The great Frances Sterhangen steals the scenes she appears in, where she embodies the shock and incisive knowledge of Carter/Cain through a past event, yet can’t quite piece all the parts of the baffling puzzle together into a whole. Sternhagen exudes an intrinsic authority and level of intelligence that feeds into the part exceptionally well.

So it is an overblown exercise which does induce head-scratching, but by and large Raising Cain still keeps your focus in a strange way, that De Palma plays to with pizzazz. It’s not a masterpiece by any means, but still a movie that demands attention for its thrills and visionary content. And just to tel you all, I’m going to be finding my way through De Palma’s filmography in the next few months, so look out for more reviews.

Misery

Tags

1990's, Frances Sternhagen, James Caan, Kathy Bates, Lauren Bacall, Misery, Psychological Thriller, Richard Farnsworth, Rob Reiner, Stephen King

Film Title

Misery

Director

Rob Reiner

Starring

• James Caan as Paul Sheldon
• Kathy Bates as Annie Wilkes
• Richard Farnsworth as Buster
• Frances Sternhagen as Virginia
• Lauren Bacall as Marcia Sindell

A sterling and very unsettling adaptation of the Stephen King novel, Misery, as directed by the versatile Rob Reiner, gains great suspense and uneasiness from confident direction, a sinister score and an Oscar-winning performance from Kathy Bates.

Paul Sheldon is a successful author, most famous for his romance novels containing the character of Misery Chastain. Yet after writing so many books about the character, Paul has grown restless and wants to try other things in the more serious genres. He has just finished writing the manuscript for a new novel of a different vein while in the retreat of a Colorado lodge and plans to journey back to his New York home. As he drives though a fierce blizzard halts these plans and he crashes his car violently off the road knocking him unconscious. Trapped in his car as the blizzard rages on, Paul is rescued by Annie Wilkes, a former nurse who takes him to her house and tends to his injuries. When he wakes up, the seemingly friendly Annie makes him as comfortable as possible, while telling him that she is his number one fan. Annie is a homely and lonely woman who is slightly odd but spears to be relatively harmless in Paul’s eyes and he’s extremely grateful to her for saving his life. Annie promises that once the phone lines are back up,and working and the road is safe, she’ll take him to a hospital. Yet things turn very creepy very fast once Annie reads Paul’s latest Misery novel and finds out her favourite character has been killed off. Flying off the handle she shows her true frightening colours. She then reveals that she never called the hospital, so no one knows where Paul is and many presume him to be dead. Still bedridden and now completely terrified, he is for forced to comply with her demands of writing a new novel bringing the character of Misery back to life. Frightened for his life, he begins writing, all the while planning some form of escape from the disturbed Annie, who never wants to let Paul go and is so intensely obsessed by him and his work, that she will resort to the most brutal tactics to make sure he completes the novel she is forcing him to write. Meanwhile, the local Sherrif Buster, an old, seasoned pro begins searching for the missing Paul, convinced that he isn’t dead as everyone else seems to believe. Before, writing was just a way of making a living for Paul, but now in the desperate situation of prisoner under the obsessed and deranged eye of Annie, he is writing to save his very life.

The ever versatile Rob Reiner shoes flair for the psychological thriller genre buy focusing on events with the confined setting of Annie’s house, that becomes claustrophobic once her mania comes out. Reiner taps into the fear of entrapment and fanatical devotion that both palpably leap from the screen and increase the terror. Tension and chills are provided through zooming close-ups, particularly of a fearful Paul and a crazed Annie. These are used most effectively in the iconic scene of Annie hobbling Paul after finding out he has tried to escape, just thinking about that scene gives me chills. Just as entertaining as watching the terrified Paul attempting to escape is the battle of wills between him and Annie. He tries to reason with her, but is ultimately forced to give in to her demands for fear of his life. Annie basically becomes the role of a disapproving and demanding(plus very menacing) editor of Paul’s work, adding to a gleefully dark undercurrent of Misery. There are some impressive jolts of black humour and irony thrown into the mix that give Misery yet more of a twisted scope to work within and coil around with mounting intensity. While the film is filled with shots of snowy hills and landscapes almost from the off, the suspense-building score from Marc Shaiman lets the audience now that we are not in for a cosy ride with strings and brass mixing to chilling effect as Paul becomes at the mercy of the unhinged and devoted Annie.

James Caan, who from the roles I’ve seen him in often plays the hell raiser of the menacing type, flips it here successfully portraying the imprisoned Paul. He convincingly conveys the feelings of entrapment and terror that soon arise when Annie’s niceness vanishes. The main draw of the film is the super impressive and award-winning performance from Kathy Bates as the psychopathic Annie Wilkes. Essaying the mood swings of the character, from calm and homely nurse to enraged torturer who will stop at nothing to keep Paul with her, Bates registers on every level so well it is frightening to behold. There is simply no other actress who could have played the part of Annie with the creepy intensity of Kathy Bates and the Oscar she won for the role was well-merited indeed. Richard Farnsworth breathes intelligence and humour into the part of the searching sheriff who won’t give up and his performance is complimented by that of Frances Sternhagen as his sarcastic but helpful wife. Lauren Bacall appears in a small but memorable role as the concerned publisher of Paul’s work.

A chilling psychological thriller of shocks and squirms, Misery will have you most uncomfortable by the end due to the creepy factor that is built throughout it and the excellent work of the cast, in particular an unforgettable Kathy Bates as the devoted but extremely dangerous number one fan.