A color-blind psychiatrist Bill Capa is stalked by an unknown killer after taking over his murdered friend's therapy group, all of whom have a connection to a mysterious young woman that Capa begins having intense sexual encounters with.
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Psychologist Bill Capa gives up his practise when he unintentionally pushes a patient to commit suicide. In an effort to come to terms with this tragedy he visits an old colleague, Bob Moore, who is subsequently murdered. The quest to catch the killer centres around a group of Moore's psychologically disturbed patients, however equally as important is an affair which develops between Capa and the mysterious Rose. This relationship, at first a diversion, becomes central to the plot as the film progresses. Written by
Drew McCormack <email@example.com>
I have to believe there was some studio meddling to make this more of a conventional thriller, because everyone seems to agree that this represents a major step backwards from the man behind the brilliant "The Stunt Man" - Richard Rush. There are little reminders of his talent early on when Willis' psychiatrist is getting to know the mercurial Jane March. Rush has a knack for making the viewer feel like they're being caught up and swept along in someone's feverish dream - the editing and camera placement seem haphazardly designed to make you feel a little dizzy and open to suggestion.
But otherwise, "Color of Night" is episodic, dim-witted, way over-long, and wildly overblown. There is a lot of over-emoting in this film, especially from that queen of over-emoters - Lesley Ann Warren. The movie's idea of excitement is to have various repellent characters scream the F-word a lot, have tears run down their cheeks and threaten to go off the deep end but never quite do. And there are downright idiotic chase scenes, particularly the one that takes place in the parking garage: for some reason, instead of just running him down, the mysterious Camaro driver pushes a parked car off an upper level and tries to time it so that it will land on Willis on the bottom level. And then of course in the very next scene, Willis is behaving as if nothing really traumatic has happened. In fact, Willis is tentative and under-directed throughout the film.
There is one interesting footnote however. Has anyone else noticed the similarity to "The Sixth Sense", at least as far as basic premise? True, the films couldn't be more different in terms of development of story or quality, but to wit: Both star Bruce Willis as a psychiatrist who feels tremendous guilt over a patient he's failed, and they both highlight the color "red". Hmmmm.
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