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White of the Eye (1987)

In a wealthy and isolated desert community, a sound expert is targeted as the prime suspect of a series of brutal murders of local suburban housewives who were attacked and mutilated in ... See full summary »



(as China Cammell), | 2 more credits »

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Cast overview, first billed only:
Paul White
Joan White
Mike Desantos
Detective Charles Mendoza
Phil Ross
Danielle Smith ...
Danielle White
William G. Schilling ...
Harold Gideon
David Chow ...
Fred Hoy
Marc Hayashi ...
Mimi Lieber ...
Liza Manchester
Caryanne (as Pamela Seamon)
Bob Zache ...
Lucas Herman
Danko Gurovich ...
Arnold White
China Kong ...
Ruby Hoy (as China Cammell)


In a wealthy and isolated desert community, a sound expert is targeted as the prime suspect of a series of brutal murders of local suburban housewives who were attacked and mutilated in their homes. As he desperately tries to prove his innocence, his young wife starts to uncover mysteries of her own... Written by Anonymous

Plot Summary | Add Synopsis


Horror | Thriller


R | See all certifications »




Release Date:

20 May 1988 (USA)  »

Also Known As:

Bielmo  »

Filming Locations:


Box Office


$225,132 (USA)

Company Credits

Production Co:

Show detailed on  »

Technical Specs

Sound Mix:


Aspect Ratio:

1.85 : 1
See  »

Did You Know?


The brutal opening murder scene of the housewife uses a staggering total of 55 shots, in a sequence that lasts a mere two minutes and 20 seconds. See more »


The Detective says to Paul that they know of four people who have bought tires with tracks matching those at a murder scene and Paul is one of them. Paul then asks "What about those other four?" when he should say "What about those other three?" See more »


Joan White: Ten years gone with the wind. Heads I hit Malibu Beach before Christmas.
Detective Charles Mendoza: What's ten years when you're in love?
See more »

Crazy Credits

In the opening credit montage the films title dissolves in from a negative image of a sun glare. See more »


References West Side Story (1961) See more »


The Grand Tour
Composed by Moras Wilson, Carmel Taylor, and George Richey
Performed by David Keith
See more »

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User Reviews

A must-see for fans of cult oddities
27 April 2014 | by (United Kingdom) – See all my reviews

Only his third film in 17 years, Scottish director Donald Cammell followed his mind and identity-bending psychedelic masterpiece Performance (1968) and the studio-butchered Demon Seed (1977) with another oddity, the strange and confusing, yet nonetheless effortlessly intriguing White of the Eye. Cammell killed himself shortly after seeing his final film, Wild Side (1995), heavily censored by an appalled producer, at the end of what seemed like a frustrating career. It's a shame he wasn't allowed more opportunities to direct features, as although White of the Eye sometimes steers into TV-movie aesthetic and features an unnecessarily overblown climax, it is something to be savoured and thought about a long time after the credits roll.

After a series of brutal murders of upper-class women, tire tracks left by the killer leads Detective Charlie Mendoza (Art Evans) to sound expert Paul White (Keith David). We learn through flashbacks the meeting of Paul and his now-wife Joan (Cathy Moriarty), and how he stole her away from her boyfriend Mike Desantos (Alan Rosenberg). There's something not quite right about Paul - he has the strange ability to omit a sound that echoes through his head, allowing him to hear at what point in a room that the sound from speakers should come from. Mike knows something too, and when Joan discovers Paul's secret affair, she slowly uncovers who her husband really is.

There's not really much point trying to unravel the mysteries in the movie, as it will leave you with a headache. Below the surface of giallo-esque murders and the sleazy Lynchian atmosphere, there seems to be a mythology happening somewhere. At one point, Paul whispers "I am the One,". Is this really a deeper story than it lets on, or is Paul just simply a narcissistic loon? Whatever it is, the film works better if you just let it play out, as the film has a lot to offer in terms of style. The soundtrack, by Rick Fenn and Pink Floyd's Nick Mason, is a powerful presence, and drums up a dusty, apocalyptic feel reminiscent of Richard Stanley's Dust Devil, which came out 5 years later.

David's performance is also impressive, especially in the latter stages when he is let off the leash. But it's about the only good thing about the climax, which tries too hard to be a number of different things and fails in just about every one of them. It becomes almost generic, with car chases and a stalk-and-slash set-piece, completely betraying the slow-build that came before. Whether Cammell was simply trying to appease his producers or indulging in mainstream aspirations, I don't know. Still, this is a bizarre little treat; uncomfortable and distinctive, cementing it's status as a must-see for fans of cult oddities.


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