Tag Archives: Robin Williams

Awakenings (1990)

Penny Marshall’s Awakenings is most superficially compared to Barry Levinson’s Rain Man for a few understandable reasons, not least of which being the two films feature a famous lead actor playing a character with a severe medical affliction. The two films also came out within two years of each other, and some may suspect Rain Man‘s success to have influenced Awakenings.

Starring Robin Williams as Dr. Malcolm Sayer (an analogue for real-life Dr. Oliver Sacks, whose memoir provided the basis for Awakenings) and Robert De Niro as mostly-catatonic patient Leonard, the film follows both men as they experience a breakthrough with regards to Leonard’s condition. Sayer’s intuition leads to the application of a new drug which brings Leonard and other patients of the ward out of catatonia and into a clearer existence, “awakened” to the world. The continued treatment of Leonard proves a heartbreaking experience for Dr. Sayer.

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One Hour Photo (2002)

The eyes of Sy Parrish deserve a spot alongside the eyes of Dr. T.J. Eckleburg in the hallowed Eye Symbolism Hall of Fame. Over the course of One Hour Photo we become increasingly aware of the fact that Sy, lonely photo tech at the local SavMart, is always peering into other lives, always consuming with his gaze, always watching. His eyes are obviously as much a part of his “hunting” arsenal as his camera – but they also provide a look back the other way into Sy’s dark and tortured soul.

Robin Williams is brilliant with dramatic material (see Awakenings, Dead Poets Society, Good Will Hunting, etc.), but the actor on display in One Hour Photo is a being unlike anything else in the extensive Robin Williams filmography. Sy the Photo Guy is a creep sure enough, a stalker of the first degree, and with a guy as manic and riffy and fantastically off-the-wall as Williams in the role you’d think Sy would be likewise larger-than-life. Not so. The opposite is in fact true – Sy is impossibly withdrawn, deadly quiet, suspiciously reserved as he observes and interacts with a couple and their son whenever they get their photos developed. The fact that we know Williams as a massive screen presence only makes the silences of this turn more unsettling.

And director Mark Romanek deserves as much credit for that as Williams, because the entirety of One Hour Photo is a spare but deceptively rich character study. Romanek has stuck mainly to music videos (and made the greatest music video of all time, Johnny Cash’s “Hurt”) but will hopefully create a film as quality as this in the near future. It’s Romanek’s direction and framing that calls attention to the deeper aspects of Sy’s psyche, in particular through a few key shots and sequences concerning the watchful eyes of Sy Parrish.

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