6.1/10
7,269
76 user 64 critic

Eyes of Laura Mars (1978)

A famous fashion photographer develops a disturbing ability to see through the eyes of a killer.

Director:

Irvin Kershner

Writers:

John Carpenter (screenplay), David Zelag Goodman (screenplay) | 1 more credit »
Reviews

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From $2.99 (SD) on Prime Video

ON DISC
1 win & 1 nomination. See more awards »

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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 Frank Adonis ... Sal Volpe
Lisa Taylor ... Michele
Darlanne Fluegel ... Lulu
Rose Gregorio Rose Gregorio ... Elaine Cassell
Bill Boggs ... Himself
Steve Marachuk ... Robert
Meg Mundy Meg Mundy ... Doris Spenser
Marilyn Meyers Marilyn Meyers ... Sheila Weissman
Gary Bayer Gary Bayer ... Reporter
Mitchell Edmonds ... Reporter
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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>

Plot Summary | Add Synopsis

Genres:

Mystery | Thriller

Certificate:

R | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

2 August 1978 (USA) See more »

Also Known As:

Eyes See more »

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Box Office

Budget:

$7,000,000 (estimated)

Gross USA:

$20,000,000
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Metrocolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

The Laura Mars character is mentioned in Tori Amos' song 'Gold Dust' released on the 2002 album "Scarlet's Walk". See more »

Goofs

When the killer kicks in the metallic door to Laura's bedroom, dents/footprints in the door from previous takes of this shot are clearly visible. 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!
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Crazy Credits

Raul Julia is billed simply as R.J. in the opening credits, but by his full name in the cast crawl at the end. See more »

Connections

Referenced in The Hunt for the House on Cuckoo Lane (2011) See more »

Soundtracks

Native New Yorker
Performed by Odyssey
Produced by Sandy Linzer & Charles Calello (as Charlie Calello)
Written by Sandy Linzer (uncredited) & Denny Randell (uncredited)
Courtesy RCA Records
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User Reviews

 
Better Than It Had To Be
31 January 2005 | by style-2See all my reviews

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.


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