Karl Kinsky is an army veteran who returns home, becoming a tattoo artist specializing in Eastern designs. He's a quiet and solemn individual, who had somewhat a bumpy upbringing with a father who looks down upon him and still does because of his profession. He is hired to create temporary tattoos for some models, but he slowly becomes obsessed with one of them Maddy. He begins a relationship with her, for it only to implode due his prudish believes and constant harassment. But he takes matters into his own hands when he kidnaps her and decides he wants to leave his mark on her.
"Tattoo" is a fascinating early eighties psychological slow-burner with an outstanding lead showing by Bruce Dern. It can be said, in his career Dern has been lumped in villainous / unlikable roles, but here it's a perfectly disturbed pitch of subtle and mannered shades. Across from him is the beautiful and headstrong Maud Adams, as the leering affection that Dern's character longs for. The script paints Kinksy as someone who knows what he wants, but wants it to be pure which leads to misconception and Dern's performance nails his character's insecure nature, as cracks start appearing showing an unsettling side. That being, the film progression is not unique, but quite routine and sombre. I think it works better in the opening stages setting up the characters, then so during the captive moments of the story. This is when it kind of stalls, but still visually it ends on an effective note. You'll know where it heads, but it's the acting, gritty urban locations (which also paint a desolate and lonely facade) and vivid tattoo artwork designs (and their meanings) on show that evaluate the formulaic plot. Bob Brooks' measured direction is efficient and busy, but its Dern's show. Also there's capable support by Rikke Borge, Leonard Frey and John Getz.
"Tattoo" is a fascinating early eighties psychological slow-burner with an outstanding lead showing by Bruce Dern. It can be said, in his career Dern has been lumped in villainous / unlikable roles, but here it's a perfectly disturbed pitch of subtle and mannered shades. Across from him is the beautiful and headstrong Maud Adams, as the leering affection that Dern's character longs for. The script paints Kinksy as someone who knows what he wants, but wants it to be pure which leads to misconception and Dern's performance nails his character's insecure nature, as cracks start appearing showing an unsettling side. That being, the film progression is not unique, but quite routine and sombre. I think it works better in the opening stages setting up the characters, then so during the captive moments of the story. This is when it kind of stalls, but still visually it ends on an effective note. You'll know where it heads, but it's the acting, gritty urban locations (which also paint a desolate and lonely facade) and vivid tattoo artwork designs (and their meanings) on show that evaluate the formulaic plot. Bob Brooks' measured direction is efficient and busy, but its Dern's show. Also there's capable support by Rikke Borge, Leonard Frey and John Getz.