One Hour Photo (2002)

A mentally unstable photo developer targets a middle-class family after his obsession with them becomes more sick and disturbing than any of them could imagine.

Director:

Mark Romanek

Writer:

Mark Romanek

Stars:

Robin Williams, Connie Nielsen, Michael Vartan

6 wins & 21 nominations.

Cast

Cast overview, first billed only:
Robin Williams	...	Seymour Parrish
Connie Nielsen	...	Nina Yorkin
Michael Vartan	...	Will Yorkin
Dylan Smith	...	Jakob Yorkin
Erin Daniels	...	Maya Burson
Paul Hansen Kim	...	Yoshi Araki
Lee Garlington	...	Waitress
Gary Cole	...	Bill Owens
Marion Calvert	...	Mrs. Von Unwerth
David Moreland	...	Mr. Siskind
Shaun P. O'Hagan	...	Young Father
Jim Rash	...	Amateur Porn Guy
Nick Searcy	...	Repairman
Dave Engfer	...	Sav-Mart Clerk
Jimmy Shubert	...	Soccer Coach

Storyline

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 - the family about whom he is obsessed, than anyone else. 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.

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Plot Keywords:

photography | photo lab | unfaithfulness | adultery | nude photo shoot | 

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Taglines:

The things that we fear the most have already happened to us...

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Genres:

Drama | Thriller

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Motion Picture Rating (MPAA)

Rated R for sexual content and language

Details

Official Sites:

Official site

Country:

USA

Language:

English

Release Date:

13 September 2002 (USA)

Also Known As:

Retratos de una obsesión

Filming Locations:

20770 Madrona Avenue, Torrance, California, USA

Box Office

Budget:

$12,000,000 (estimated)

Opening Weekend USA:

$321,515, 25 August 2002, Limited Release

Gross USA:

$31,597,131, 5 January 2003

Cumulative Worldwide Gross:

$19,500,000, 2 February 2003

Company Credits

Production Co:

Fox Searchlight Pictures, Catch 23 Entertainment, Killer Films

Technical Specs

Runtime:

96 min

Sound Mix:

Dolby DTS (uncredited)

Color:

Color

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

After Sy's dream sequence, his watch when he wakes up reads 6:06.

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Goofs

When Mrs. Yorkin drops off film, she leaves three rolls of Fuji Superia film, distinguished by its green and blue canisters. When Sy goes to inspect the film, he holds it up to the light and the edgeprint of the film is visible. The edgeprint reads "Portra 160 NC", which is a Kodak professional film.

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Quotes

Nina Yorkin: You've been doing my pictures for a long time.
Sy Parrish: I almost feel like "Uncle Sy!"

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Alternate Versions

In this early cut a temp score was used featuring Thomas Newman's score to American Beauty and The Shawshank Redemption. Hans Zimmer score for The Thin Red Line was used when Sy follows the Yorkins car (When he slips the photo in). 'Clint Mansell''s Requiem for a Dream score was used during the final chase sequence.

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Connections

Referenced in On the Set of Sightlines (2003)

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Soundtracks

Cartoon Madness
Written and Performed by Tim Heintz

User Reviews

subtle but chilling portrayal of madness

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.