Why Was Robert De Niro's Max Cady Such a Terrifying Villain? Comment Think back to the original Cape Fear from 1962, with silver screen greats Gregory Peck and Robert Mitchum as the leads. The movie was the pinnacle of suspense in the early 60s’ (except Alfred Hitchcock’s Psycho) with Mitchum’s Max Cady being the epitome of creepy. His sole intent was to terrorize the family of his former lawyer Sam Bowden, and succeeding, until Bowden pulls a gun and ends the reign of terror without further conflict. Bowden lives happily ever after, Cady goes back to prison, the end. Territory like that was only beginning to be approached in the early 60s’, and viewers were legitimately disturbed by the film’s content; in the era of creature-features and sock hops, the scariest monster was the human one. However, come 1991, the true definition of the human monster was returned to the big screen when Martin Scorcese brought back Cape Fear with Nick Nolte as Bowden and Robert De Niro as Cady.

The remake took the extra steps that the original couldn’t, and as a result, the film was much grittier and darker as De Niro’s Cady stole the show with a very terrifying interpretation. “Granddaddy used to handle snakes in church, Granny drank strychnine. I guess you could say I had a leg up, genetically speaking.” – Cady De Niro’s Cady was the perfect villainous specimen. He was lean and muscled from his time in prison, heavily tattooed, eloquently spoken, and (go figure) his heavy Southern accent was both charming and unsettling. But the most unsettling aspect was his intensity. Cady came out of prison a hardened convict bent on revenge. He wanted recompense for the lost years that he received courtesy of Bowden and he wasn’t afraid to cross that line. That’s what defines De Niro’s Cady as a villain. He wasn’t above invading the Bowdens. He invaded them personally, emotionally, mentally, and literally. He invaded their sense of peace, their security, their privacy, and even went as far as seducing Sam’s teenage daughter. He raped their sense of normalcy and forever changed their lives.

He was a plague who made your skin crawl just by looking at him. The above clip is from the film’s climactic battle on board the Bowden family’s houseboat. As made obvious, De Niro’s Cady is nothing short of delightfully deranged. Of course, as made obvious in the film, Cady is also an idealist, and when an individual is on a warpath in the name of those ideals others would be hard pressed convincing them that what they are doing isn’t right. More from Horror Movies 12/27 - ‘Resident Evil: The Final Chapter’ Clips Brings On the Zombies Of course, that doesn’t mean we didn’t enjoy De Niro’s Cady. His performance made the film. Only De Niro could properly perform a character as psychotic as Cady. His performance was so in depth that he even playfully tormented Scorcese while in character. De Niro was committed to the role, going as far as having a dentist alter his teeth for the role as well as study the “Southern dialect” by recording a bunch of Southern people talking into a mic. Somehow, someway, everything in the South only adds an element of terror in films.

With that being said, smart, ripped, tatted, Southern, and just outright psychotic, De Niro’s Cady is the epitome of a horror villain. He was nominated for an Oscar for his role as Cady, and that’s wasn’t for nothing. Weigh in below on your take of De Niro’s performance as Cady in Cape Fear.

Cape Fear Box Set | DVD Review | Film @ The Digital Fix Cape Fear Box Set 01:37 on 21st Jan 2002 By Raphael Pour-HashemiRaphael Pour-Hashemi Extras Extras 1962 Version, Making Of - Documentary (28 Mins), Production Photographs, Theatrical Trailer, Production Notes, Cast & Filmmaker Biographies, 1991 Version, Making Of - Documentary (80 Mins), Deleted Scenes (9 Mins), Behind The Scenes Of 4th July Parade / Houseboat Sequence, Matte Paintings, Saul Bass Opening Titles, Production Photographs, Theatrical Trailer, Production Notes, DVD-ROM script to screen, Cast & Filmmaker Biographies Soundtracks 1962 Version, English Mono, French Mono, German Mono, Italian Mono, Spanish Mono, 1991 Version, English 5.1, French 2.0, German 2.0, Italian 2.0, Spanish 2.0 Subtitles English, French, German, Bulgarian, Czech, Danish, Dutch, Finnish, Greek, Hungarian, Norwegian, Polish, Portuguese, Swedish, Turkish Raphael Pour-Hashemi has reviewed

 the Region 2 release of Cape Fear Box Set.

A good and relatively cheap 3-disc box set which features both versions of the classic yarn Cape Fear. Cape Fear (1962) In the late fifties, famous actors became producers as they sought out material to base their own starring vehicles around. Burt Lancaster and Kurt Douglas were successfully experienced in this exercise, and so Gregory Peck took his turn. Peck's Melville Productions bought the rights to John D. MacDonald's novel The Executioners, and his production company produced the original Cape Fear in 1962 (with Mitchum's Talbot Productions co-producing). The film is a crisp black-and-white psycho-thriller that belonged to a genre best defined in the fifties to sixties period. Alongside other Hollywood system masterpieces as Psycho, Touch Of Evil and Night Of The Hunter (also starring Robert Mitchum), the film manages to portray the villain of the piece as the most unredeemable human being alive whilst simultaneously portraying him as the most interesting, without glorifying his psychotically criminal traits.

Sam Bowden (Gregory Peck) is a successful and respected lawyer who lives in relative comfort in small town Savannah, Georgia with his doting wife Peggy (Polly Bergen) and loving teenage daughter Nancy (Lori Martin). However, the tranquillity that Bowden's life has provided is about to be attacked, when Max Cady (Robert Mitchum), a horrendous ex-con that Bowden testified against to put him in prison eight years ago, has recently been released and pays him a visit. Cady is bitter and hell-bent on wreaking revenge on Bowden, as he blames him for his lengthy prison stretch. Cady's embarks on a sort of cat-and-mouse battle of wills, which involves stalking Bowden and his family wherever they go. Legally, Sam is powerless to stop Cady's schemes, as Cady isn't breaking any laws. However, Sam manages to acquire the help of the local police chief (Martin Balsam) and a private detective (Telly Savalas with hair!), who provide some law-bending advice. In an act of desperation, Bowden pays to have several men physically beat Cady, hoping this will force him to leave town.

Not only does Cady overcome the group of men, but he also files charges against Bowden, and in a twisted sense of justice, the courts protect Cady from the lawyer who once helped imprison him. Required to attend an out of town hearing on the matter, Bowden uses the opportunity to set a human trap for Cady. He arranges for his wife and daughter to spend time at a houseboat on the Cape Fear River, hoping that Cady will make a play for them, while Bowden lurks in the wings, hoping to stop this battle once and for all. Cape Fear has dated more than other classics of its type, but this is solely due to the less explicit tone of some scenes (which have possibly been superseded by the graphic remake) and also because of the weak structuring of the 'good guys' characters. Whereas Psycho's Marion Crane was an adulterer and unsure thief, the Bowden family in Cape Fear are too perfect, too clean cut and two-dimensional in the best sixties cardboard character sense. This could have been deliberate in order to make Mitchum's Cady more interesting.

Mitchum himself is having such fun as Cady you almost sense that he is not actually acting but being Cady, which is a scary prospect indeed. Directed by J. Lee Thompson (The Guns Of Navarone, Conquest of The Planet Of The Apes, Ice-Cold In Alex) and expertly written by James R. Webb, Cape Fear is a smouldering cauldron of tension, which is boiling at high temperature, and yet still strikes a cold chord of terror down the spines of the audience. The fantastic Hitchcockian derived score by Bernard Herrmann is both haunting and utterly menacing, to the point that it sits comfortably alongside his greater musical contributions such as Psycho, Vertigo and Taxi Driver. What makes Cape Fear a classic is the fact that the film isn't afraid to take a fascist viewpoint similar to that of Dirty Harry. Prison hasn't reformed Cady it has made him worse. It has trained him to use his law education as some sort of weapon on Bowden.

Rather than devote his prison sentence to starting a new, clean life and overcome guilt of the crimes he has committed, Cady is solely preoccupied with vengeance on Bowden, in a way an excuse to not take responsibility for his own actions. Cady has such a low disregard for human life that he is willing to rape members of Bowden's family (although because of censorship issues the film cleverly never mentions the word 'rape') as some sort of malicious warning to Bowden. It is therefore understandable why Bowden takes the law into his own hands to stop the relentless Cady. Featuring some fine performances, excellent dramatic pacing and a timeless noir quality, Cape Fear is excellent food for thought, and terribly exciting. Picture Presented in anamorphic widescreen 1.85:1, the black and white transfer looks splendid, with bright vivid tones and a good remastered print. Obviously a few speckles occur on occasions, but Cape Fear looks fresher than it ever has before, and the transfer is arguably better than the remake's. Sound Presented in the original mono mix, the sound has been remastered with added bass and is generally pleasing.

Hiss is rare to non-existent (good for a forty-year-old film) and dialogue is clearly audible and recorded at an acceptable volume. Menu: A nicely illustrated menu that is unfortunately static and silent. Comprising of artwork from the film, and given a murky mist coloured overcoat. Packaging: The usual Universal Amaray template packaging with a chapter listing included inside. Extras The Making Of Cape Fear - Documentary: A good twenty eight minute Laurent Bouzereau documentary that unfortunately isn't as long a documentary as the remake version, but is still informative and moulded around the same style. Featuring interesting interviews with J. Lee Thompson and Gregory Peck, but sadly lacking the involvement of Robert Mitchum who had died two years previously. The documentary focuses on bringing MacDonald's novel to the screen and the various elements involved in creating suitable tension, such as hiring Bernard Herrmann. Also, the documentary focuses on the filmmakers battle with the British censors, who wanted to impose one hundred and sixty one cuts! Production Photographs: A five minute reel of photographs from the production and poster artwork, backed with score from the film by Bernard Herrmann.

Theatrical Trailer: A good early sixties trailer with traditional big and bold white lettering and typical style pandering to the shocker elements of the film. Production Notes: A few pages of production notes on the making of the film, although no new insights are revealed. Cast & Filmmakers: A few text pages of cast and crew biographies and filmographies. Conclusion A classic example of sixties noir given probably the best DVD package it is ever likely to have. Picture and sound qualities are very good, and the extras are informative if slightly sparse compared to the remake version. Cape Fear (1991) Remakes are a curious oddity for anyone claiming to be obsessive about film. Why remake a film? If the original is good enough to need to be brought to the attention of a new generation, why not just re-show that version as opposed to cheapening it with new actors, new scenes and no new mystique in the form of a new version? It's sort of the same argument as why artists cover other artist's songs - because of the voice delivering the song.

It isn't in doubt that Sinatra sings 'My Way' better than its creator Paul Anka (Or indeed that annoying ex-Take That dancer) or that Hendrix does a damn good version of Dylan's 'All Along The Watchtower'. So, if you agree with this principle, then there is no reason why directors cannot do a 'good version' of another director's film. In most places, this hasn't happened, with remakes of King Kong, Planet Of The Apes, and Get Carter all not being worthy of holding the same title as the original films. Even when directors have tried to virtually re-shoot rather than remake, such as Gus Van Sant's Psycho interpretation, the critical response has been murderous. Some remakes however, are worthy enough to sit cosily either alongside or slightly underneath the basis for their adaptation. Cronenberg's The Fly was an honourable update of the fifties Vincent Price chiller; Werner Herzog's Nosferatu: Phantom Der Nacht was a stylish retread of the Murnau silent classic; Even The Magnificent Seven was an OK Hollywood-system version of the brilliant Seven Samurai. Spielberg was originally to have directed the early nineties remake of Cape Fear.

Ironically enough, Martin Scorsese was originally to have directed Schindler's List! Anyhow, as part of his new contract with Universal and Spielberg's Amblin Entertainment, Scorsese felt that he owed Universal a 'mainstream' hit and became a 'director-for-hire'. Scorsese claims to love the 'studio films' of the fifties and sequels, and this was one of the reasons why he chose to remake Cape Fear in 1991. Expertly written by Wesley Strick, and suitably moulded by Scorsese into a more personal film, the remake manages to pay homage to the original and still be enjoyable entertainment in its own right. What makes the remake of Cape Fear so interesting as a remake is the shift in the natures of its core characters. Whereas the original was clearly a straightforward black and white / good versus evil tale, the remake deliberately exists in a much greyer area, in which the totally good or totally evil characters no longer exist. The characters are the same, yet their principles are completely different.

Sam Bowden (Nick Nolte) is still a successful lawyer, but is no longer the saint with a halo hanging around his head like Gregory Peck's Bowden. The new Sam Bowden has a past of marriage infidelity, and is currently initiating a series of liaisons with a female clerk at his firm. Sam's wife Leigh (Jessica Lange) is neurotic and insecure, and superficially trusts him, yet is not the doting housewife presented in the sixties version. Even their daughter Danielle (Juliette Lewis) is experiencing the usual teen-alienation from her parents, and isn't presented as the 'run-to-daddie's-arms' type of girl. The film's villain - Max Cady (Robert De Niro) has transformed from a bitter, violent misogynist into a murderous psycho past the point of no return. The most important element that has shifted in context from the original however, is the reason why Cady was imprisoned. Rather than being an opposing witness as in the original, Bowden was actually Cady's defence attorney in a rape trial, but deliberately withheld vital evidence because Bowden wanted to lose the case which would result in the imprisonment of Cady.

Cady was imprisoned for fourteen years, and spent most of his time studying law. Now released from prison, Cady has realised that Bowden denied him his basic rights to a fair defence, and has sought to inflict revenge through terrorising Bowden and his family. The clever touch of having Cady's legal rights infringed almost restores settings to a level playing field. The film makes no bones about Cady being a despicable human being, but yet still throws much blame at Bowden, for creating his own problems and not living up to the responsibilities of his job. Painting Bowden as being unfaithful in his marriage and a lousy father is almost the icing on the cake. It's almost as if Cady is the maximum embodiment of being physically evil through his actions and Bowden is the same, but mentally instead of physically. You can almost feel Scorsese even wanting Cady to win, like he's some sort of more extreme (if it exists) Travis Bickle. Cady might be a rapist and vicious women beater, and the film doesn't excuse this or defend it, but he certainly has fewer pretensions than Bowden, who exists in a permanent cloud of deceit with a self-serving nature.

The issue of Bowden's daughter Danielle messes with the good-versus-evil balance the most. Danielle is neglected constantly by Bowden, and yet when she is lured into her school drama theatre by Cady, he becomes almost a second father figure with her in a twisted Electra complex type of way. The sexually charged (and completely improvised) sequence is forever on the brink of being explosive, and this is due to the fantastic performances by De Niro and Lewis, who were both Oscar nominated. As for De Niro, he makes Robert Mitchum's Max Cady his own to such an extent that the film could have been renamed 'Max Cady', as he has elevated his character from the good versus evil battle of the original film to foremost protagonist. De Niro is certainly very fearsome to watch as Cady, coupled with his impressive physique and hideous tattoos, and also because for the most part of Cape Fear he is relatively calm. It is also worth warning the audience how menacing De Niro sounds with a deep southern tone of voice. Nolte and Lange perform acceptable but it was never going to be their movie, and Juliette Lewis shows surprising promise as Danielle.

Joe Don Baker has a very good supporting role as Private Investigator Claude Kersek, a no-nonsense and unscrupulous character. It's also nice to have Gregory Peck and Robert Mitchum switch sides so to speak in the remake, with Mitchum playing a police lieutenant and Peck playing Cady's lawyer. What about Scorsese's direction? For any other director, the remake of Cape Fear would serve as a fine career notch, but for Scorsese, he seems unusually confined to the material. He throws in much more graphic violence and uses editor Thelma Schoonmaker to edit scene transitions frantically, but there are still times when Cape Fear switches between a Scorsese film and a genre film. Maybe it's the final actual Cape Fear sequences that drag the film down to conventional thriller status. If Scorsese had had the guts to let Cady come out victorious, his film would have proved to be much more interesting. Instead, Cape Fear is a good genre film directed by a master talent. Even the delicious Psycho homage is thrown in too late to return the controls to Scorsese. At least Cape Fear maintains the fantastic original Bernard Herrmann score.

It's been re-conducted and arranged by Elmer Bernstein, but you'd be forgiven for thinking the film has simply lifted the original version's score completely. Freddie Francis also turns in a respectable job as the film's cinematographer, giving Cape Fear a sinister and suitably unrealistic dark covering. Cape Fear has a very interesting mutated premise compared to the original, and is hard to fault throughout. However, it ultimately feels like a cop-out on Scorsese's part, as he should either have stuck to making a personal film or a genre film, and not fluctuate in between. Even so, the film is extremely enjoyable like most genre thrillers are, and it doesn't disrespect the original, which is always a good sign. Academy Awards 1991 Cape Fear (Movie, 1991) | STATIC MASS EMPORIUM Director: Martin Scorsese Writer: Wesley Strick Cast: Robert De Niro, pharm Nick Nolte, Jessica Lange, Juliette Lewis, Robert, Robert Mitchum, Gregory Peck Generally, I respect the law and think it’s a system that’s largely fair and reasonable in affecting our daily lives.

Yet, it is not at all inconceivable that breaking the law can be the morally right thing to do. It’s only a shame we can’t hold our heads up when doing so; we have no choice but to hide – and whoever is on the other side has the upper hand. The reason I like Martin Scorsese’s Cape Fear so much as a remake of the 1962 original, is because of its advanced, morally complex plot that’s in sync with a modern audience that needs more than a traditional ‘good vs. evil’ film. Sam Bowden (Nick Nolte) is a well-to-do lawyer defending Max Cady (Robert De Niro) who’s being tried for the rape and battery of a young woman. Being illiterate, Cady depends completely on Bowden’s commitment to the law. When Sam sees the photos of the woman and the level of violence Cady inflicted on her, his morals come into conflict with his profession and he decides to hide evidence of the victim’s promiscuity in order to make sure Cady’s sentence isn’t reduced. The young woman being promiscuous has no real connection to the crime itself – and connecting the two strongly suggests sexism against women in the criminal justice system.

Bowden abandons his professional commitment to defend his client to the best of his abilities and Cady is essentially sent to prison by his own defence lawyer. Fourteen years later Cady is released from prison. While locked up, he learned to read and write, studied law, and when he pays a quick visit to Bowden, he indicates he’s learned about him burying the evidence. Thus begins the Bowden’s family nightmare with Cady subjecting them to persistent harassment that gets progressively worse and violent. Bowden has to fear not only for his own safety, but his unhappy wife Leigh (Jessica Lange) and his rebellious teenage daughter Danielle (Juliette Lewis). Scorsese puts a strong emphasis on Cady becoming a born-again Christian in prison. He’s exacting religious justice on the Bowden family, frequently quoting from the Bible and claiming he doesn’t actually hate Sam Bowden – he prays for him. Only Martin Scorsese could confirm what he wanted to say with these character opposites; but morality from Christian texts is placed against an innate sense of justice in Cape Fear.

Cady is portrayed as a solid character of absolute certainty while Sam Bowden is undoubtedly flawed and yet guided by his own personal instincts of right and wrong. As a suspense-thriller, Cape Fear is a prime example in Scorsese’s work that he can trespass on Brian De Palma territory and deliver the goods. The camera movement conveys tension constantly by almost nervously moving from face to hand, from hand to door handle – and who knows what’s behind the door? The cinematography is stylish and vivid throughout; De Niro sitting on the garden wall of the Bowden family with the intense 4th of July fireworks in the background is just one of the memorable over-the-top scenes in the film. The characters are gritty and realistic, as opposed to the perfect image of the nuclear family in the original; Juliette Lewis is especially superb as Danielle, whose difficult relationship with her father makes her dangerously receptive to Cady’s grooming. There’s plenty of subtext to unpack in Cape Fear.

The subject of religion plays a role throughout; Max Cady appears to possess super-human abilities at times, and prior to the last confrontation, Bowden talks about the “force majeure” defence, which in law is defined as an unforeseeable act of God. Bowden and his troubled family are portrayed as imperfect but nevertheless very much human and up against something inherently rigid that’s technically right but morally wrong. Robert De Niro is as menacing as he’s ever been playing the legendary villain. His first encounter with Bowden and his family in the cinema says it all – Cady wants trouble and he’s going to enjoy every second. The terror that’s gradually inflicted on every aspect of their lives culminates in a terrifying showdown making Cape Fear an unmissable Scorsese thriller. BACK TO TOP Arpad Lukacs Arpad is a Film Studies graduate and passionate photographer (he picked up the camera and started taking stills just as he began his studies of moving pictures). He admires directors that can tell a story first of all in images. More or less inevitably, Brian De Palma has become Aprad’s favourite filmmaker. Then there’s Arpad’s interest in anime.

He was just a boy when he saw Nausicaä of the Valley of the Wind on an old VHS and was hypnotised by the story of friendship, devotion and sacrifice. He still marvels at the uncompromising and courageous storytelling in Japanese anime, and wonders about the western audience with its ever growing appetite for “Japanemation”. Have a look at Arpad's photography site , and you can follow him on Twitter @arpadlukacs . THE EMPORIUM » ALL INTERVIEWS FRIENDS OF STATIC MASS 24 Frames Per Second • Anti/Type Films • New Urbanite • Ferocious Bloodaxe • Film Studies For Free • James Arden • John Bleasdale • Mark Patton • Masters of Cinema • Norman Buckley • Quiet of the Matinee • Smell Of Popcorn • Tarumatu • The Lights Dim • TV Bomb WRITE FOR STATIC MASS! If you are passionate not only about watching movies but also about writing, we would love to hear from you! Please get in touch and let us know whether you have a favorite genre, an interest for example in World Cinema, and how often you could write reviews and/or features for us. You can as well send us your features and reviews right away.

We look forward to receiving articles between 700 and 1,500 words, submitted as a Word document. You can find more information here . Please also read our Terms & Conditions. — Founder & Editor in Chief — Max Cady (Character) - Quotes Max Cady (Character) from Cape Fear (1991) The content of this page was created by users. It has not been screened or verified by IMDb staff. Cape Fear (1991) Max Cady : It's not necessary to lay a foul tongue on me my friend. I could get upset. Things could get out of hand. Then in self defense, I could do something to you that you would not like, right here. Max Cady : Every man... every man has to go through hell to reach paradise. Max Cady : You learn about loss. [repeated phrase] Max Cady : Counselor. Max Cady : I ain't no white trash piece of shit. I'm better than you all! I can out-learn you. I can out-read you. I can out-think you. And I can out-philosophize you. And I'm gonna outlast you.

You think a couple whacks to my guts is gonna get me down? It's gonna take a hell of a lot more than that, Counselor, to prove you're better than me! Sam Bowden : [the first meet - about to start his car when suddenly a hand reaches in and snatches the keys. It's Max Caddy!] Max Cady : [smiling] Free as a bird. You go wherever you want with whomever. Sam Bowden : I'd like my keys back please. Max Cady : Could it be you don't remember me? Sam Bowden : I remember you. You were at the movies the other night. Max Cady : I'm disappointed. I'm hurt. Sam Bowden : I would like my keys. Max Cady : Max Cady. You look the same. Maybe 15 pounds heavier. But they say the average man gains a pound a year till he's about... Come on. Gains a pound a year till he's about 60. Me? I dropped a pound every year in my sentence. Max Cady : You got it. [looks at keys and adds] Max Cady : Fourteen years since I held a set of keys.

Max Cady : I'm Virgil and I'm guidin' you through the gates of Hell. We are now in the Ninth Circle, the Circle of Traitors. Traitors to country! Traitors to fellow man! Traitors to GOD! You, sir, are charged with betrayin' the principles of all three! Quote for me the American Bar Association's Rules of Professional Conduct, Canon Seven. Sam Bowden : "A lawyer should represent his client... " Max Cady : "Should ZEALOUSLY represent his client within the bounds of the law." I find you guilty, counselor! Guilty of betrayin' your fellow man! Guilty of betrayin' your country and abrogatin' your oath! Guilty of judgin' me and sellin' me out! With the power vested in me by the kingdom of God, I sentence you to the Ninth Circle of Hell! Now you will learn about loss! Loss of freedom! Loss of humanity! Now you and I will truly be the same... Max Cady : You ready to be born again, Miss Bowden? Max Cady : [to Lori] Maybe I could chop you into 40 pieces.

[Max Cady stares at Mrs Bowden] Max Cady : Mmm mmm, hot as a fire cracker on the fourth of July. Prison Guard: What about your books? Max Cady : Already read 'em. Max Cady : [Danielle throws scalding grease over Max] Danielle were you about to offer me something hot? [Lights a flare and holds it aloft] Max Cady : Let's get something straight... I spent fourteen years in an eight by nine foot cell surrounded by people who were less than human, my mission in that time was to become more than human [lets boiling wax drip on his skin] Max Cady : ... so you see! Granddaddy used to handle snakes in church, Granny drank strychnine. I guess you could say I had a leg up, genetically speaking. Max Cady : Counselor, could you be there? Max Cady : "I am like God, and God like me. I am as large as God, He is as small as I. He cannot above me, nor I beneath Him be." Silesius, 17th Century. Max Cady : Your mommy's not happy...

your daddy's not happy, and you know what? You're not happy. Max Cady : I understand, I'm not your type, too many tattoos. Thing is, there isn't much to do in prison except desecrate your flesh. Max Cady : Are you my friend? Are you my friend? Claude Kersek : No I'm not your friend. Max Cady : Well, see, I like to plan my comings and goings with friends, so if you're planning my comings and goings I'd call that presumptuous, in fact I'd call it downright rude. Max Cady : Counselor! Come out, come out, wherever you are! Max Cady : [hanging upside down, on the phone with Danielle] ... well, you can trust in me 'cause I'm the "Do-Right Man". Max Cady : I am going to teach you the meaning of commitment. Fourteen years ago I was forced to make a commitment to an eight by nine cell, now you are going to be forced to make a commitment. You could say I'm here to save you. Max Cady : Are you a cop? Or were you a cop?

Or were you not good enough to remain on the force? Cause you know what? That's the feeling I'm getting here. [Cady has just killed Kersek] Max Cady : I learned that in prison... You white-trash piece of shit! Max Cady : [hit in the head with a rock] Forget about that restraining order, Counselor? You're well within 500 yards! Max Cady : You will now have an opportunity. "What is that opportunity?", you ask. Why, here and now, we have an opportunity to depict and dramatize... Leigh Bowden : Oh, no! Max Cady : ...both the heights and the depths of a mama's true love of her daughter, if y'all get my meaning. C'mon out, baby, let's go. C'mon darling. Get out. [shoves Danielle up onto table] Max Cady : Yes, Leigh? Leigh Bowden : Listen to me, Max, listen to me. You know, Max, since all this started, I've thought about you all the time. I've tried to imagine what it must have been like for you, all those years locked up in jail...

I've tried to imagine you and even your crimes, and how you must have felt in those moments that you did them... See, I know about loss, Max. I know about losing time, even losing years. And I know it doesn't compare to jail, but I can understand. And I can share this with you. Because of that, whatever it is you've got planned, I want you to do it just with me... not with her... because... we have this connection. Sam Bowden : Because I knew he brutally beat and rapped her Max Cady : Talk... TO ME! I'm Right HERE [strikes him] Sam Bowden : Just because she was promiscuous... Didn't give YOU THE RIGHT TO RAPE HER! But YOU BRAGGED you beat TWO prior rapes... you were a menace! Max Cady : [Screams] YOU WERE MY LAYWER... You Were My Lawyerthat report could've saved me FOURTEEN YEARS Max Cady : [Disgusted] YOU SELF-RIGHTEOUS FUCK!

[last lines] Max Cady : [singing hysterically to the heavens] I'm bound for the promise land I am I'm bound for the promised land Max Cady : [to a snarling Sam] You already sacrificed me counsellor Cape Fear (1991) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error A convicted rapist, released from prison after serving a fourteen-year sentence, stalks the family of the lawyer who originally defended him.

Director: From $2.99 (SD) on Amazon Video ON TV a list of 30 titles created 25 Mar 2012 a list of 49 titles created 29 May 2014 a list of 33 titles created 13 Mar 2015 a list of 32 titles created 18 Nov 2015 a list of 29 titles created 27 Nov 2015 Search for " Cape Fear " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 2 Oscars. Another 4 wins & 15 nominations. See more awards » Videos Four honourable men business ends up in a chaos when Johnny boy adopted their profession and ruined their empire Director: Martin Scorsese Federal Agent Eliot Ness sets out to stop Al Capone; because of rampant corruption, he assembles a small, hand-picked team. Director: Brian De Palma The life of Jesus Christ, his journey through life as he faces the struggles all humans do, and his final temptation on the cross.

Director: Martin Scorsese Fast Eddie Felson teaches a cocky but immensely talented protégé the ropes of pool hustling, which in turn inspires him to make an unlikely comeback. Director: Martin Scorsese An emotionally self-destructive boxer's journey through life, as the violence and temper that leads him to the top in the ring destroys his life outside it. Director: Martin Scorsese Aspiring comic Rupert Pupkin attempts to achieve success in show business by stalking his idol, a late night talk-show host who craves his own privacy. Director: Martin Scorsese A father becomes worried when a local gangster befriends his son in the Bronx in the 1960s. Director: Robert De Niro Haunted by the patients he failed to save, an extremely burned-out Manhattan ambulance paramedic fights to maintain his sanity over three fraught and turbulent nights. Director: Martin Scorsese A lawyer's family is stalked by a man he once helped put in jail. Director: J. Lee Thompson Greed, deception, money, power, and murder occur between two best friends, a mafia underboss and a casino owner, for a trophy wife over a gambling empire.

Director: Martin Scorsese A Puerto Rican former convict, just released from prison, pledges to stay away from drugs and violence despite the pressure around him and lead on to a better life outside of N.Y.C. Director: Brian De Palma An egotistical saxophonist and a young singer meet on V-J Day and embark upon a strained and rocky romance, even as their careers begin a long, up-hill climb. Director: Martin Scorsese Edit Storyline Sam Bowden ( Nick Nolte )is a small-town corporate attorney/"Leave It to Beaver" type family-man. Max Cady ( Robert De Niro ) is a tattooed, cigar-smoking, bible-quoting, rapist. What do they have in common? Fourteen years, ago Sam was a public defender assigned to Max Cady's rape trial, and he made a serious error: he hid a document from his illiterate client that could have gotten him acquitted. Now, the cagey, bibliophile Cady has been released, and he intends to teach Sam Bowden and his family a thing or two about loss. Written by James Craver The Bowden family has moved to New Essex.

See more » Genres: Rated R for strong violence, and for language | See all certifications » Parents Guide: 15 November 1991 (USA) See more » Also Known As: Cabo de miedo See more » Filming Locations: Reese Witherspoon auditioned for the role of Danielle Bowden. See more » Goofs When Sam Bowden is first confronted by Max in his car, he offers to buy Max off. Max counters Sam's hypothetical $10,000 offer with, "Let's say $50,000--$50,000 into [about] 5,000 days" equals $10 per day. He meant to say 5,000 days into $50,000, which would give his daily pay rate. (The first calculation equals 1/10th of a day per dollar.) See more » Quotes [first lines] Danielle : My reminiscence. I always thought that for such a lovely river the name is mystifying: "Cape Fear". When the only thing to fear on those enchanted summer nights was that the magic would end and real life would come crashing in.

See more » Crazy Credits At the start of the film, when the Universal Pictures logo appears on screen, instead by studio's theme, sounds from the thunders and rainy is heard, and the logo changes of Egyptian ripple waters. See more » Connections Don't Mess with the Voodoo Written by Graham Drout, Bob Hamphill, Nick Kane and Joe Smith Performed by Iko Iko (NC) – See all my reviews Robert De Niro is one of those actors that just melts into a role. His performance as rapist, convict, and all-around not-a-very-nice fellow Max Cady is certainly one of his most memorable performances for its stamina, strength, and excessiveness. The film by Martin Scorsece is a remake of the classic film starring Robert Mitchum and Gregory Peck. Although Scorsece keeps the spirit of the film intact, he does make some very modern changes. He changes the role of Sam Bowden and family from one of harmony to dysfunction. No character is the epitome of a universal good, but rather flawed(very flawed) goodness. Nick Nolte does a fine job as Bowden and Jessica Lange and Juliette Lewis both give deep, emotional performances.

The film is really a sea of emotion...most of that emotion being fear. Scorsece adds some arty touches with the camera, but it is his gritty style that really dominates the film's impact. Scorsece also is ever the protector of film as he gives cameos to Gregory Peck, Robert Mitchum, and Martin Balsam(all in the original film). The other acting standout goes to Joe Don Baker as a hired private investigator. But make no mistake....this is De Niro's film all the way. He has some of the best lines as he harasses the Bowden family, terrorizes the Bowden family, and strips the Bowden family of all civility, pretense, and dignity. This film is definitely a keeper! 42 of 54 people found this review helpful. Was this review helpful to you? Yes

Question: Which twice-made movie features the villain Max Cady?
Answer: Cape Fear