When the first manned mission to Mars meets with a catastrophic and mysterious disaster after reporting a unidentified structure, a rescue mission is launched to investigate the tragedy and bring back any survivors.
Ricky Santoro is a flamboyant and corrupt Atlantic City cop with a dream: become so well connected that he can become mayor. In lieu of that, he'll settle for keeping his comfortable lifestyle. On the night of the heavyweight boxing championship, Rick becomes mixed up in the assassination of the Secretary of Defense, an assassination involving his best friend. Becoming the investigating officer in the case, Rick soon uncovers a conspiracy to kill the Secretary and a mysterious woman in white. The conspiracy was shocking, but not half as shocking as the identity of its mastermind. Written by
The Mystery Guest
Filming was completed two weeks ahead of schedule. See more »
A tidal wave originally planned was removed from the film, but not entirely: - The wave can be seen briefly in a few frames as the police van arrives near the film's end. It hits the van, which begins to fall over. In the next shot, the van merely swerves into the building. - Richard Santoro mentions a recurring dream about being back in the tunnel underwater; but since the tidal wave sequence was taken out, he was never underwater in the first place. See more »
The end credits scroll over a construction site scene (presumably the new casino), closing in tighter and tighter until the final shot is of a bright red jewel embedded in a concrete pillar that the workmen are installing. Most of the time the jewel is hidden under the hand of one of the workers. The ring was worn by the red-haired woman/Navy agent who was part of Commander Kevin Dunn's scheme. See more »
This is a wonderful experience. Never mind that the acting is poor and the story weak --that was never the point. This film was made because DePalma knows how to make his camera dance and wanted to make a film based on that notion.
A central question in most art concerns the role of the viewer. This dominated easel painting, then was the center of evolution of the novel and now sits at the core of thought about film. Is the viewer an omniscient God, or can the viewer be fooled like a person? Is the viewer a passive observer, or does she `walk' with the participants as an invisible character? So many clever questions.
DePalma thinks the camera is a whole new thing, The camera is a type of character, part narrator, part actor, part god. It can lie, be fooled, search curiously, document, play jokes. So this is a film about the camera's eyes. `Snake' both because the camera can snake around following Cage, going places that Cage cannot, but also `snake' because the camera sees with forked tongue.
So we have one seemingly continuous shot of the key scene, which is played first from Cage's perspective, then the fighter's, the Navy guy, the Girl, then the cop again, and finally the `flying eye.' Along the way, every eye trick DePalma can think of is woven in:
--The girl's glasses are crushed so she sees less than the audience
--The whole mess is about what a satellite sees
--The casino has 1000 cameras which our own eyes coopt
--The thing is framed by the TV eye
--God-like, we scan over several hotel rooms while Cage and Sinese are stuck in the hallway maze
--The whole thing is in real time, as if you were living in the action
This is masterfully intellectual. See it. Forget the story.
76 of 107 people found this review helpful.
Was this review helpful to you?