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One Hour Photo (2002)

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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
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4,834 ( 37)
6 wins & 21 nominations. See more awards »

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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 Marion Calvert ... Mrs. Von Unwerth
David Moreland David Moreland ... Mr. Siskind
Shaun P. O'Hagan Shaun P. O'Hagan ... Young Father
Jim Rash ... Amateur Porn Guy
Nick Searcy ... Repairman
Dave Engfer Dave Engfer ... Sav-Mart Clerk
Jimmy Shubert ... Soccer Coach
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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. Written by Huggo

Plot Summary | Plot Synopsis

Taglines:

Er weiß, wo du wohnst! (He knows where you live!) See more »

Genres:

Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for sexual content and language | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official site

Country:

USA

Language:

English

Release Date:

13 September 2002 (USA) See more »

Also Known As:

Retratos de una obsesión See more »

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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
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby | DTS (uncredited)

Color:

Color

Aspect Ratio:

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

Trivia

The soccer game sequence was shot at Lacy Park in San Marino, California. See more »

Goofs

When Sy is walking with Jacob after Jacob's soccer practice, Sy gives him a toy which he refuses. We see Sy put the toy back into the bag, but in the next shot he's still holding the toy straight out. See more »

Quotes

Bill Owens: Sy, there's a 1000 other places where you can do your photos. There's no reason to come all the way down other than to fuck with me.
Sy Parrish: There's a very good reason. I calibrated that machine personally. It's the best mini-lab in the state.
See more »

Alternate Versions

In this early cut a temp score was used featuring 's score to and . score for was used when Sy follows the Yorkins car (When he slips the photo in). 'Clint Mansell''s score was used during the final chase sequence. See more »

Connections

References Mobile Suit Gundam (1979) See more »

Soundtracks

Cartoon Madness
Written and Performed by Tim Heintz
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User Reviews

subtle but chilling portrayal of madness
29 September 2002 | by Buddy-51See all my reviews

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.


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