A famous fashion photographer develops a disturbing ability to see through the eyes of a killer.
Director:
Irvin Kershner
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Title: Eyes of Laura Mars (1978)
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1 win & 1 nomination.
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Eyes of Laura Mars: Eyes on Laura
(Video 2000)
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|
Short
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Edit
Cast
| Cast overview, first billed only: | |||
| Faye Dunaway | ... | Laura Mars | |
| Tommy Lee Jones | ... | John Neville | |
| Brad Dourif | ... | Tommy Ludlow | |
| Rene Auberjonois | ... | Donald Phelps | |
| Raul Julia | ... | Michael Reisler (as R.J.) | |
| Frank Adonis | ... | Sal Volpe | |
| Lisa Taylor | ... | Michele | |
| Darlanne Fluegel | ... | Lulu | |
 |
Rose Gregorio | ... | Elaine Cassell |
| Bill Boggs | ... | Himself | |
| Steve Marachuk | ... | Robert | |
| Meg Mundy | ... | Doris Spenser | |
|
|
Marilyn Meyers | ... | Sheila Weissman |
|
|
Gary Bayer | ... | Reporter |
| Mitchell Edmonds | ... | Reporter | |
Edit
Plot Summary
|
Add Synopsis
Storyline
Suddenly Laura Mars can see through the eyes of a serial killer as he commits his crimes. She contacts the police and with the aid of a police detective, tries to stop the killer. But first, they have to figure out who it is. Written by Brian W Martz <B.Martz@Genie.com>
Parents Guide:
View content advisory »
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Details
Country:
USALanguage:
EnglishRelease Date:
2 August 1978 (USA) See more »Also Known As:
Eyes See more »Edit
Box Office
Budget:
$7,000,000 (estimated)Gross USA:
$20,000,000Cumulative Worldwide Gross:
$20,000,000Company Credits
Show more on
IMDbPro »
Technical Specs
Runtime:
Sound Mix:
MonoColor:
Color (Metrocolor)Aspect Ratio:
1.85 : 1
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See more »
Performed by KC & The Sunshine Band (as K.C. and the Sunshine Band)
Written by Harry Wayne Casey (uncredited) & Richard Finch (uncredited)
Produced by Harry Wayne Casey (as K.C.) - Richard Finch (as Finch) for Sunshine Sound Enterprises Inc.
Courtesy of T.K. Records
See more »
Did You Know?
Trivia
Faye Dunaway uses a Nikon FM (fit with an MD-11 motor drive) for her fashion shoots. See more »Goofs
When Laura sees an especially frightening vision the camera cuts to her eyes in close-up. Her pupils are not maximally dilated as they would normally be by extreme emotion, but are pinpoints. This would likely have been a technical difficulty as the bright lights in the C/U would shrink her pupils. See more »Quotes
Answering machine: [Recorded greeting on Michele and Lulu's answering machine] This is Lulu and Michele. We're not here, so go to hell! But if you're not a horny creep, leave a message at the beep!See more »
Crazy Credits
The film's closing credits roll over the first image of the movie, a black and white image of Laura's eyes as a negative. See more »Soundtracks
(Shake, Shake, Shake) Shake Your BootyPerformed by KC & The Sunshine Band (as K.C. and the Sunshine Band)
Written by Harry Wayne Casey (uncredited) & Richard Finch (uncredited)
Produced by Harry Wayne Casey (as K.C.) - Richard Finch (as Finch) for Sunshine Sound Enterprises Inc.
Courtesy of T.K. Records
See more »
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Jon Peters' first production as he transformed himself (with girlfriend Barbra Streisand's help) from hairdresser to movie producer, the movie is a gem of Seventies style at it's finest. The clothes, the hair, makeup, music, attitude, interiors and locations ride the crest of the high-style wave that flooded the world through the Eighties. Combining the improbable worlds of violence and fashion, with a story that centers on a famous photographer (Dunaway) and her ability to *see* her friends and colleagues being stalked and murdered, *Eyes* has moments of serious suspense, but that's hardly the reason to see this movie. Utilizing the actual photography of fashion god Helmut Newton, the film maker has exquisitely captured the 1978 New York fashion and disco scene in a way that none of the recent looks at the Seventies has been able to, but then, again, this movie was *made* in 1978, not 27 years later. The scenes of photo shoots are particularly fun to watch, with one scene portraying a burning car crash in Columbus Circle in which the models, clad in garter belts and fur coats cat-fight before the camera. The ingenuous use of *real* models add the precise amount of vacuity necessary to make the surreal shot work. Another photo shoot involves a model dead from a gunshot to his heart lying in a pool surrounded by exotically dressed disco-dancing models and a throbbing disco beat. The plot is secondary to style in this movie, and style is the only reason this movie should be remembered. Favorite moment: Darlanne Fluegel as the model Lulu haplessly trying to explain to the press *why* violence is important in fashion photos.