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.
Coming from a police family, Tom Hardy ends up fighting his uncle after the murder of his father. Tom believes the killer is another cop, and goes on the record with his allegations. Demoted then to river duty, the killer taunts Tom.
Sarah Jessica Parker,
In 1929 French Indochina, a French teenage girl embarks on a reckless and forbidden romance with a wealthy, older Chinese man, each knowing that knowledge of their affair will bring drastic consequences to each other.
Tony Ka Fai Leung,
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. Written by
Drew McCormack <email@example.com>
Color of Night (1994) came along in the wake of Basic Instinct (1992), in which Lance Henriksen features in the cast and Joe Eszterhas wrote respectively. In Jagged Edge (1985) Henriksen also features in the cast and Eszterhas also wrote that film. Incidentally all three films are set in California. See more »
The shoes of Capa and Rose disappear a few seconds after they fall in the pool. See more »
If you don't tell 'em, I'll have to tell 'em. Am I the person to break the news to these people? 'Listen up you fuckin' daffodils. Your shrink is dead. Which means that all the time, effort and love you put in this relationship is wasted. You're gonna remain as fucked up as you are, or get worse.'
See more »
After the credits roll, Hector can be heard calling for help because he is still hanging on the wall. See more »
There's a good film in here somewhere just aching to get out, but the
filmmakers seem more interested in playing Box Office Wheel of Fortune than
caring about the quality of the product they're trying to sell, and it makes
`Color of Night,' directed by Richard Rush, one of those movies that makes
you shake your head and think, Ah! what could have been if only! And that
single `if' makes all the difference in the world with regards to what
finally winds up on the screen.
When his treatment of a patient fails and ends tragically, leaving him with
some pronounced psychological damage of his own, New York psychologist Dr.
Bill Capa (Bruce Willis) quits his practice and goes to Los Angeles seeking
the solace and, perhaps, the help of an old friend and colleague, Dr. Bob
Moore (Scott Bakula). Capa quickly discovers, however, that Moore is having
problems of his own, apparently stemming from a weekly group therapy session
he has been conducting for some time. Moore, it seems, has recently
received some death threats, which he believes are coming from one of the
patients of this particular group, though he hasn't a clue which one, nor
any proof of his suspicions.
Moore invites Capa to sit in on the next group session, hoping for a fresh
perspective and possibly some insights into the matter. At the moment, Capa
feels incapable of actively engaging in the practice of his chosen field of
endeavor, but in light of the fact that he's Bob's house guest, he
acquiesces and agrees to observe the group. But it proves to be an
inauspicious proposition for all concerned, and subsequent circumstances
quickly put Capa at the center of just the kind of situation he left New
York to avoid. Once the hand is dealt, however, he has no choice but to
play it out to the end.
Rush began his career as a director with low budget exploitation films like
`Too Soon to Love' in 1960, and ten films later achieved legitimate status
with the highly successful black comedy, `The Stunt Man' in 1980, for which
he received an Oscar nomination (along with his leading man, Peter O'Toole).
He did not direct again until this film, some fourteen years later, and
during that hiatus, Rush apparently lost whatever expertise he had accrued
by 1980, and his `roots' are clearly showing in this one. The violence of
the film is inherent in the story, but Rush makes it unnecessarily graphic;
and while this could have been an incisive and insightful character study
(and intrinsically more interesting), he takes the low road, fleshing it out
instead with scenes of gratuitous sex and nudity, as well as superfluous
action (he works in no less than two ridiculous car chases, one culminating
in a vehicle being pushed from the top of a high rise parking garage).
Furthermore, he ignores motivations and character development almost
entirely; the two areas that required the most attention if this film was
going to work at all.
Rush especially lets his actors down, inasmuch as most of these characters
presented real challenges that could have been met much more successfully
with the help and guidance of the director. Rush would have served his
actors, as well as himself, better had he taken the time to explore these
people being portrayed with some depth. He apparently did not, however, and
with one exception the performances by one and all suffer for
In 1994, Bruce Willis simply was not the accomplished actor he is
today, and he, especially, could have used some help in finding his
character. it was help he obviously did not get, and his Capa ends up being
too much John McClane and not enough Malcom Crowe. Willis flounders between
the two personalities, creating a kind of schizophrenic characterization
that seriously affects the credibility of his portrayal. And it's the same
fate suffered by Scott Bakula here. Even in the scenes which places them in
their `professional' setting as psychoanalysts, they are simply not
Making the case of poor directing even stronger are the performances of
Lesley Ann Warren (Sondra), Brad Dourif (Clark), Ruben Blades (Lt. Martinez)
and Kevin J. O'Connor (Casey). Like Willis, all of them seem to have
trouble defining their individual characters, vacillating between any number
of personalities and unable to achieve that necessary, final focus. It's
the kind of indecisiveness that is usually resolved during rehearsals, but
inexplicably made it to the screen here. The single exception is the
performance turned in by Lance Henriksen, as Buck, who unlike his costars,
somehow managed to find his character and make him convincing.
The odd-'woman'-out of the entire bunch is Jane March, who as Rose has
perhaps the most challenging role of all, and when given the opportunity
actually displays some talent. Unfortunately, Rush-- for the most part--
uses her in a way that is demeaning and without merit, and she becomes the
object of a sleight-of-hand that is nothing more than a cheap trick Rush
pulls out of his hat. And by failing to use her in a more productive way,
by not concentrating on developing her character (which is so vital to the
story), Rush commits his most critical error of all.
The supporting cast includes Eriq La Salle (Detective Anderson), Jeff Corey
(Ashland), Kathleen Wilhoite (Michelle), Shirley Knight (Edith Niedelmeyer),
John Bower (Medical Examiner) and Andrew Lowrey (Dale Dexter). The high
note of this entire project was played before it ever even got off the
ground, that being the story itself; but screenwriters Matthew Chapman and
Billy Ray proceeded to methodically remove any and all credibility it may
have initially contained, and Rush took it from there, taking `Color of
Night' straight into that black hole reserved for movies that fail to
deliver on their promise. It is not surprising that Rush has not directed a
feature film since this one; once the magic is lost, it's hard to retrieve.
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