5.1/10
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3 user 4 critic

Dark Side of Genius (1994)

Julian Jons is a talented but troubled young artist. He has just been released from an asylum, where he has spent the last seven years for the murder of Anna, his girlfriend/model. ... See full summary »

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(as Frederick J. Stroppel)
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Cast

Cast overview, first billed only:
...
...
Jennifer Cole
...
Leon Bennini
...
Carrie
...
John Barnard
Tina Cote ...
Anna / Kristi
...
Sherman McPhee
...
Samuel Rourke
D.J. Harder ...
Pascal
Gina Mari ...
Naomi
Henry Harris ...
Detective
G-Jo Reed ...
Police Officer
Laura Zuckerman ...
Office Worker #1
Jennifer Chahinian ...
Officer Worker #2
Stacy Mosso ...
Bennini's Girlfriend #1
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Storyline

Julian Jons is a talented but troubled young artist. He has just been released from an asylum, where he has spent the last seven years for the murder of Anna, his girlfriend/model. Attempting to start painting again, he is pursued by journalist Jennifer Cole, who is intrigued by this complex, brooding man. Against the backdrop of the modern art world, she begins to dig into the past, fully aware that it holds painful memories for Julian, and perhaps danger for herself. Written by Murray Chapman <muzzle@cs.uq.oz.au>

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Creating an erotic masterpiece can be murder.


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R
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August 1994 (Canada)  »

Also Known As:

I skoteini plevra tou pathous  »

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User Reviews

 
IT IS ABOUT MORE THAN THE PLOT.
29 November 2003 | by (Mountain Mesa, California) – See all my reviews



Style and substance, components that are included to some degree within films of either aesthetic or artistic sensibility, are seldom present to the same extent, and that is the case in this U.S./Australian production, with style happily the most pronounced. Director/cinematographer Phedon Papamichael, a master craftsman of cinematic style thanks to his canny use of light, shadow and colour in relation to his cast, maintains visual emotion throughout this work even when the substance, the story itself, wallows a bit. The sound designer, Leonard Marcel, adds to the successful development of the piece, and although there is perhaps some mixing misfortune, scoring and arranging by Tom Hiel, use of a portion of Mozart's Requiem, K. 626, and songs composed and sung by the male lead, Brent Fraser, make for a convincing counterpart to Papamichael's visual artistry. Footage is in the artist's loft district of downtown Los Angeles, the scenario telling of a reporter (Finola Hughes) for a weekly publication of the arts who has discovered a possible major story: an artist (Fraser) who had murdered his model seven years past, now freshly released from his asylum internment, is creating paintings for a forthcoming gallery exhibition, for which the gallery owner (Glenn Shadix), of a practical leaning, finds the resultant gossip of probable fiscal value. After tracing down the reclusive painter, Julian Jons, the journalist, Jennifer Cole, becomes physically attracted to him, becoming his lover, but when a moneyed patron commissions Jons to paint a friend who remarkably resembles his slain model, the painter suffers from flashbacks that suggest there may soon be another victim. The acting is of a quality indicating preparation, with both Hughes and Fraser neatly flanking most cliches in their roles, while good turns are on display from the always competent Shadix, Moon Zappa as Jennifer's roommate, and by Patrick Bauchet in a too brief appearance as Jennifer's editor. Direction by Papamichael is creative, with the players permitted to complete their characterizations in this sadly undervalued film that includes a scene of eroticism that is delightfully unique in its crowded canon.


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