A quirky, out-of-of place worker at a crucifix factory in the Bible Belt invents a device he claims can show pictures of Heaven. Discouraged and confused by the inability of those around ... See full summary »
In 1944 Poland, a Jewish shop keeper named Jakob is summoned to ghetto headquarters after being caught out near curfew. While waiting for the German Kommondant, Jakob overhears a German ... See full summary »
Hannah Taylor Gordon,
In the midst of his crumbling relationship, a radio show host begins speaking to his biggest fan, a young boy, via the telephone. But when questions about the boy's identity come up, the host's life is thrown into chaos.
Kids show host Rainbow Randolph is fired in disgrace while his replacement, Sheldon Mopes, aka Smoochy the Rhino, finds himself a rising star. Unfortunately for Sheldon, the kid's TV business isn't all child's play.
Middle aged Sy Parrish works as a technician at a one hour photo lab located in a SavMart store in a suburban mall. Sy is a lonely man, never having had any friends. He knows much about his customers through the photographs they have developed. But he knows more about the Yorkin family - specifically Nina Yorkin and her adolescent son Jake Yorkin, the two in the family who drop off and pick up the family's photofinishing - than anyone else, the family about who he is obsessed. Nina's husband, Will Yorkin, is incidental to his obsession since Sy has only seen him in photographs. Sy's obsession includes fantasizing about being their favorite "Uncle Sy". He has even been making an extra set of prints for himself of all of their photographs since Jake was a newborn. After an incident at work and after Sy finds out more about the family through a set of photographs, he decides to right the injustices he sees in the only way he knows how. His actions demonstrate his true mental state. Written by
During the DVD commentary, director Mark Romanek stated that Jack Nicholson was up for the role of Sy before Robin Williams. This is not the first time Williams was up for a role first approached to Nicholson. When Nicholson was stalling to sign on as Joker in Batman (1989) Williams was in talks before casting was finalized. See more »
When Sy is taking his last walk through SaveMart, he speaks with Yoshi then is shown walking down an asile (2a and 2b). The boxes in the walking shot are different than what is behind Sy when he is saying good-bye to Yoshi. Note boxes sitting on their face or back in one of the sections. They are there when he is speaking with Yoshi, but not in the Steadicam, walking shot. See more »
When someone seems sad and don't have any friends, it makes me feel bad for them.
Who is sad and doesn't have any friends?
The Photo Guy at the one hour place? Well, we really don't know that much about him, do we? He might even have a lot of friends. He probably has a girlfriend and a mommy and daddy, who love him.
I don't think he does.
See more »
Robin Williams gives what may well be the performance of his career in `One Hour Photo,' a creepy psychological thriller written and directed with cool precision by Mark Romanek. Given its premise, the film could easily have degenerated into a sordid, exploitative tale of obsession and madness. Instead, Romanek has chosen to take a more subtle approach, fashioning a film that downplays the potential violence of its material while, at the same time, recognizing the humanity of its central figure.
Romanek understands that the greatest threats to our safety and lives often come from the gray, nondescript people who surround us unnoticed, the `nobodies' whose benign faces and vacuous smiles reveal no trace of the insanity, evil and potential for doing us harm that may be lurking right there under the surface. And nobody is `grayer' than Si Parrish, an innocuous, socially undeveloped milquetoast who spends his days working as a photo developer in one of those sterile five-and-dime drug stores (just like the one in `The Good Girl') - and his nights sitting all alone in his drab apartment brooding over a massive family-photo shrine he has erected to the Yorkins, a seemingly happy family of three whose pictures Si has been developing, copying and obsessing over for more than seven years now. The film centers around Si's growing fixation with this one family and his delusional belief that he too could somehow become an integral part of their family unit. Then comes the day when Si realizes that he is no longer content to be a mere vicarious member of this adopted family and, thus, begins his plan to gradually insinuate himself more and more directly into their lives.
As both writer and director, Romanek manages to keep us in a state of vague uneasiness throughout. We are always anticipating some potentially dreadful event, yet Romanek doesn't go for the easy thrill or the obvious plot turn. Thanks to Williams' subtle, incisive performance, we come to understand something of what makes this strange character tick. We begin to sense the deep-seated loneliness and social awkwardness that have come to play such an important part in defining both his behavior and his character. Si is scary, but he is also pathetic. He may have slipped over the edge into madness, but it is a pathology rooted in overwhelming loneliness and the inability to `fit in' to the societal `norm' of marriage and family. Even when his character is at his most threatening and irrational, Williams somehow makes us care about him.
Romanek hits upon a few ancillary themes as well. He acknowledges how photos create the appearance of a life without necessarily reflecting the reality of that life. Most people, Si confesses, record only the `special, happy' moments of their lives birthdays, weddings, holidays etc. and leave out the mundane or painful ones. Moreover, Si tells us that people use pictures as a way of defeating aging and time, of saying to the world of the future that `I', this seemingly insignificant person, was really here, being happy and enjoying life. To match this theme, Romanek's visual style often feels like the director's own personal homage to The Photograph, as the camera scans caressingly across a sea of snapshots and Si's voiceover narration complements that feeling.
`One Hour Photo' is not a film for those who like their chills heavily laced with bloodshed, murder and mayhem. It is, rather, for those who can appreciate a quietly unsettling, yet strangely compassionate glimpse into the dark recesses of the troubled mind.
125 of 140 people found this review helpful.
Was this review helpful to you?