The Public Eye
Tags: neo noir, murder

Plot synopsis:
In the 1940s, Leon "Bernzy" Bernstein is a freelance crime and street photographer for the New York City tabloids, dedicated to his vivid and realistic work and his unique ability to capture shots that nobody else can. He is very confident of his skills, declaring at one point, "Nobody does what I do. Nobody".
With a police radio under the dashboard of his car and a makeshift darkroom in his trunk, he quickly races to the scene of horrific crimes and accidents in order to snap exclusive photographs. He is so good at his job that he becomes known affectionately as the "Great Bernzini".
Bernzy meets a sultry widow, Kay Levitz (Barbara Hershey), who owns a fancy nightclub. It seems the mob is muscling in on her due to some arrangement with her late husband. Kay asks if Bernzy could investigate an individual she considers troublesome. Generally unsuccessful with women, Bernzy agrees to help Kay, and he slowly begins to fall in love with her.
After talking to his contacts, including journalist friend Arthur Nabler (Jerry Adler), he tracks down Kay's man, only to find him murdered. But when he calls the police, he becomes a suspect in the man's death. The police and the FBI are also very interested in this case. Bernstein makes a connection with a local gangster, Sal (Stanley Tucci), uncovering a conspiracy involving a mob turf war about illegal gas rationing, and the Federal government. His activities get Sal killed and place Bernzy's life in great danger as he waits in hiding at an Italian restaurant where a mob hit is about to take place.

Review: In this case, Public Eye could be seen as a 1930's gangster movie.
But the color of this movie looks like black and white.
This film had anything I love about the Bogart, Robinson and Cagney movies.
Joe Pesci puts in possibly the best performance of his career, far different than many of his other roles (in other words, he doesn't play a little angry, cursing mobster).
My favorite scenes are these:  the part in the middle of the gun battle when Pesci's character gets a gun pointed at his head, but can only respond by lifting up his camera and taking a picture, and the very final scene when Pesci's buddy tries to turn off his police scanner and he says, "You can't turn it off."  A great film..
my personal interest in Black & White photography initially attracted me to it, but, after watching it several times, I have really come to admire the great 'feel' of the film ...
any fan of film-noir, and period pieces, should love this one ...
Pesci's character comes across as 'real', to me, a very believable portrayal, definitely one of his top performances ...
Without actually researching Bernstein's history, I'll say this movie is a true story.
Anyone who has ever admired the work of photographers or aspired to photography themselves must see this film.
"The Summer of '42" is another interesting period piece.Hat's off to Joe Pesci for his excellent performance in this film..
Joe Pesci plays the role of Leon "The Great Bernzini" Bernstein with accomplishment, as a kind of grubby, middle-aged everyman.
Barbara Hershey, 44 when she made this movie, makes the screen sizzle by her mere presence as Kay Levitz.
People who are not willing to surrender to the experience of a movie will have less of a reaction to it.The story is classic film noir, and more remarkable for being based on true events; blending together the great photographer Weegee (many of his photographs are actually used in the movie) and a gas-coupon scandal from the early days of American involvement in WWII.
Wonderful Score, Definitely a Hidden Gem. Movies should be able to transport you to the time and place without much effort.
This is definitely a movie to "get into the mood" for 40's noir, down to the gritty life of the City After Dark.This one keeps getting overlooked as one of the best of the 90's.
I've never rated this movie that high but I've gone back to it three times since it came out about 15 years ago on tape, so maybe I am underrating this.
There's something intriguing about this story that drives me back to it.Perhaps that is so because it's about a photographer, something I did, too, while being in the newspaper business for years and an art form I've always enjoyed.
Joe Pesci is Leon Bernzini or "The Great Bernzini," a newspaper photographer and Barbara Hershey is a mysterious woman who Pesci has the hots for.
Pesci takes gruesome photos, doesn't get involved with anyone but he's willing to make an exception with "Kay Levitz" (Hershey).....
The movie also has an unsatisfying ending, particularly with Hershey's character.However, I keep getting drawn back into multiple viewings of this and I'd sure like to see what it looks like with a good DVD transfer..
Some great mood and pseudo-noir stuff, and Pesci is terrific.
The Private Eye (1992)This is a fictionalized story of the very real NYC crime photographer Weegee, and if you've seen pictures of Weegee or heard his story, Joe Pesci is the perfect cast for the role, coming right after "Goodfellas." He nails it, a terrific performance, even down to handling the cameras well.Too bad the rest of the film is hit or miss.
And Barbara Hershey as the leading woman (not quite a femme fatale, it seems, but she has that look) is solid, especially with her hair up.
And on the plus side it has to be said that Mark Isham's last minute hiring for the score was inspired, because it gives the movie the depth it needs.The misses on the film are deeply integral to enjoying it all the way--the plot, the secondary actors, the direction.
The latter is hard to pin down within the obvious and almost purposely clichéd plot, but you feel all along that the movie is put together functionally, as if the director knows most of all that these pieces have to go in order.
It's especially noticeable because so much of the film is going right, including Pesci.There is the question of why did they take Weegee (a.k.a. Arthur Fellig) and turn him into Bernzini (a.k.a. Leon Bernstein)--apparently it was a rights issue with the original story, but certainly the new story could have still been based on Weegee.
The images in the film look like pseudo-Weegee moments as much as Pesci looks like Weegee, and Wikipedia says that some of these are actual Weegees.
(I have my doubts, but who knows?) Both men had outrageous rubber stamps for the back of their prints that are almost identical--Weegee's said "Weegee the Great." The car is identical, for sure, and even the pace and the world are Weegee's.Beyond all of this, the movie is entertaining if never commanding, and quite beautifully photographed--I'm talking the cinematography, now.
Joe Pesci scores one for the little guy that nobody likes in a big way.
Joe Pesci is the perfect little pain in the rear end photographer getting into everyone's way with no real change for a normal life.
I was immediately caught up by the 40's style back drops, especially in the initial club scene, and was reminded of every noir movie I've ever seen.
At first I just watched to see what a terrible mess the modern cinema would make in modern styled noir film, it was late and I also detest Joe Pesci (whose foul mouth often detracts from his character) as a rule but after a few minutes I was still watching.I read somewhere that Barbara Hershey looked like a clothes horse for classic 40's dresses, and in that, she did remind me of Veronica Lake, again in the noir style.In all it was a great attempt at capturing the feel of 40's Manhattan.
I enjoyed the relationships between the characters and was touched by the pan of the cheering crowd of real people at the end, not usually seen in noir.
The Public Eye was an attempt to elevate Joe Pesci to star status from respected character actor in the wake of his acclaimed Oscar for Best Supporting Actor for Goodfellas.
Though Pesci did give a great performance in the film, the public was not prepared to buy him as leading man status.The film is really Pesci's show in that there are no really developed characters outside of his in the film.
And curiously enough though the racket that is being investigated is gasoline rationing.Joe Pesci is an independent photo journalist who with police scanner always on is first on the scene for every event in town.
The acquaintance is found dead by Pesci and that leads him into a racket involving collusion between gangsters and government employees of the Office of Price Administration to control gasoline with stolen ration cards.Back in that war food and other commodities like gasoline were rationed to the civilian public and the price strictly controlled.
That vain but artistic streak leads him to take some real chances.The Public Eye is a good throwback film to the forties.
Well, I've just seen the movie tonight and Pesci is certainly great in it.
I really enjoyed it and it's too bad that it hasn't been credited as one of Pesci's best (if not THE BEST) movies..
One crime film that deserves much more of a public eye.
Pesci plays an avid cameraman, Bernzy, who's always first on the scene to flash his camera, yet plays a very lonely type, who on his latest shoot, gets involved with a woman, Hershey, who implores him to find out who killed her husband, where soon, he's in over his head, with some high up, corrupt and powerful dudes, coming after him.
After all, it is 1940, and the backdrops are awesome, where this little gem of a drama, offers a lot of color and taste, and it's great to see Pesci, a so underused actor (nothing can top his performance in Goodfellas) steer this one.
great film noir.
This is one of my new favorite film noirs.
Great movie!.
Movie IS Film As Art !.
Movie NEEDS to be on DVD stat.This movie is wonderful...wonderful and severely underrated.Its beautifully filmed, beautifully acted, beautifully edited, beautifully photographed, beautifully scored via Mark Isham.
This film is the best example i can ever give anyone when talking about film as art.I cannot believe how underrated it is--not only as a forgotten film from the early 90's but just how forgotten it is as a film starring Joe Pesci.
Just today i was in a Staples and i found a DVD set that contained both The Super and With Honors--and while both of those are just dandy if you like Pesci--i just can't for the life of me understand how both of those are widely available and this jewel is somehow lost.
If you need a synopsis--Pesci is a very omnipresent shutter bug--he prowls the night taking with his camera and his police scanner frequently crashing crime scenes just to be the first one to get a photograph of the leftover carnage.
He's forever dreaming of getting a coffee table book published of his crime scene photos--and one day he gets a phone call from night club owner (and very high on the social ladder) Barbra Hershey who wants Pesci to investigate the shady circumstances of her dead husband, etc, etc.
The plot is pure noir of course---i hate to say given how much i love it, but the plot is actually kind of irrelevant---the whole point of this gorgeous movie is just to bask in the wonderful atmosphere the movie provides.
(i know that sounds dumb to say--but its truly one of the best films i can recommend to anyone interested in just observing how a film can function as both a movie and as art.) It helps of course if you're a fan of black and white photography and classic film noir--but you don't really have to be to just sit back and enjoy this one either.
(The end shootout in particular is so beautifully shot---and so stylistically original--I can't for the life of me think of one other film that has even tried to rip it off over the years.) Howard Franklin (who directed this as well as my own personal favorite film Bill Murray's Quick Change) sadly never got to make another serious film along the lines of this one--and that i think is a real shame because judging just from this one film--he could've been one of the best today instead of just a one off director.
(I'm sure it didn't help that this prob cost Universal a pretty penny to make and only eked out about 3 mil in total--and i remember being in 5th grade when this came out--this had a pretty substantial campaign behind it because i clearly remember seeing the ads for it when it came out, so right there i know universal must've been expecting something to happen from this) I can't implore all of you hard enough to check this one out--even if it means watching it on a plain olé' VHS tape (altho i believe there are torrents of it available to download) Good Lord if there's one movie--if there's ONE film that i wish would see the light of DVD right now it would be this one.This Thing Never Shuts Off. You Can't Shut It Off.Throw In The Hat. People Love To See The Dead Guy's Hat.God I Love This Movie!.
The Public Eye is loosely based on the life and work of Arthur Fellig.Fellig's nickname, ("Weegee"), was a phonetic rendering of Ouija, due to his frequent arrival at scenes only minutes after crimes, fires or other emergencies were reported to authorities.He is best known as a candid news photographer whose stark black-and-white shots documented street life in New York City.
I recommend this movie for anyone who enjoys a good crime yarn and people with an interest in the life and times of Arthur "Weegee" Fellig.Much of the factual information in this review was gleaned from Wikipedia..
The Public EyeBefore snapping the shot, the key to hip crime photography is ensuring the victim is wearing Ray-Bans.In the 1940s, however, fatalities had to be photographed wearing Bobby socks, like the ones in this crime-drama.Known for his inexplicable ability to be at a crime scene minutes after occurring, photographer Bernzy (Joe Pesci) makes his scratch selling snaps to the rags.One day a bar owner (Barbara Hershey) who claims she is being strong-armed by gangsters approaches Bernzy to find someone.Blinded by his infatuation with her, he agrees.But when that someone turns up dead, Bernzy becomes the prime suspect.Inspired by a real-life crime photography known for his prescient instinct, The Public Eye is a gritty film crime-noir with sharp dialogue, shadowy backdrops, and a suspenseful script.Incidentally, 1940s crime photographers make the worst fugitives since they always leave a trail of used flash bulbs in their wake.(Green Light)vidiotreviews.blogspot.ca.
Pesci is brilliant as Leon Bernstein, an independent New York photographer in the early 1940's.
Barbara Hershey never looked better as the recently widowed owner of a dinner club who is being pushed out by the mob.Much of the story you can read elsewhere.
Briefly, Pesci has dreams of getting his book of photographs published.
Hershey needs help and thinks Pesci can provide it.
It all plays out here in a nice, overlooked, noir tale that was beautifully filmed.
I would love to hear Pesci and Hershey do a commentary on this film.
I am so used to seeing Joe Pesci as a mobster (Goodfellas, Casino, Once Upon a Time in America) that I never imagined him in any other role.
Well, he certainly surprised me in this noir film as a photographer who took great pride in his work and never let his feeling get in the way - until this one time, and it almost cost him his life.Pesci was outstanding as the lonely photographer who imagined he could have a relationship with the gorgeous Barbara Hershey (The Portrait of a Lady, A World Apart, The Last Temptation of Christ).
This is not a great film (written & directed by Howard Franklin), but it was entertaining to see another side of Pesci.
I first saw this film in a 1930's-40's movie theater (with the original large screen) and it fit perfectly with its noir themes and 40s style costumes.
I had come to see it as a double feature with 'Delicatessen', and was surprised by the artistically satisfying black and white still photography that was flashed on the screen as examples of the main character's work.
Finally, an understated Joe Pesci performance - but unfortunately it doesn't make up for a paper thin plot, and a remarkable degree of heavy handedness with what plot there is (count how many times that his character is referred to as an animal).
The Pesci character THE GREAT BERNSTEIN, is based on the 1940's press photographer WEEGEE, a fact that I don't see mentioned anywhere.
Bernzy, A Compromised Principle & Black Gas. This criminally underrated movie features a fascinating central character, an outstanding performance by Joe Pesci and a dark, moody recreation of 1940s New York that's absolutely stunning.
Its story about the circumstances that lead to a man abandoning one of his most important principles and the high cost that he has to pay as a consequence of doing so, is full of danger, deceit and disappointment and contains many moments of humour and pathos that add immeasurably to the enjoyment of watching this totally gripping film.Leon "Bernzy" Bernstein (Joe Pesci) is a freelance photographer who inhabits the city's streets and clubs late at night in order to capture sensational pictures which he sells to the tabloid newspapers.
Bernzy's decision quickly leads to him becoming a murder suspect and confronting further dangers when he gets too closely involved in a gang war that's linked to a conspiracy which involves mobsters, politicians and a black market in gas rationing coupons.Joe Pesci is exceptionally good in showing the dedication and determination of his character as well as his desperate need for love and recognition.
Bernzy had achieved great success in his career through being absolutely professional and enjoying good relations with both the police and the gangsters because he made a point of never taking sides but his deal with Kay changed things and suddenly put him in great danger."The Public Eye" is beautifully photographed, skilfully directed and features some great dialogue as well as a strong supporting performance by Barbara Hershey but it's ultimately Bernzy's character and Pesci's performance that make this film so memorable..
Remarkable movie, great photography, good script, very good acting, dialogues are superb.I never heard of this movie before i saw it, but i was gripped immediately.
Pesci was great as always.
If nothing else, "the Public Eye" looks really good.
Joe Pesci is also well cast as the '40's photographer Leon Bernstein.
Maybe he should have stuck to comedy, because he shows no flair for this noir type material and he's not helped by his cinematographer--odd to say about a film about a photographer.Barbara Hershey co-stars as Kay, the love interest, but she's not given a whole heck of a lot to do.
This whole story needed some serious rethinking (maybe even making Pesci's character the sidekick of a much more typical noir tough guy who gets whacked) and a director who could really pick up the pace.
As is, the Public Eye is pretty to look at, but not much else.