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Ajouter une intrigue dans votre langueA child molester sent to prison finds that criminals exact harsher justice than society.A child molester sent to prison finds that criminals exact harsher justice than society.A child molester sent to prison finds that criminals exact harsher justice than society.
Tony DiBenedetto
- Tony
- (as Tony Di Benedetto)
Luis Guzmán
- Inmate
- (as Luis Guzman)
Henry Judd Baker
- Other Inmate
- (as Henry Baker)
Histoire
Le saviez-vous
- ConnexionsReferenced in Stick, le justicier de Miami (1985)
Commentaire à la une
Short Eyes is to prison pictures what the atom bomb is to weaponry— powerful and frightening from one end to the other. In fact, I'm surprised the movie got made at all since it's got all the commercial appeal of live surgery. But once you start watching, you can't stop. The characters are real and riveting, the setting an actual prison (The Tombs), and the violence sudden and brutal. It's almost like being in prison, except thankfully you're not.
The story is about one floor of the lockup where the packed-in racial groups appear poised for combat like Europe in 1914. There's a tense truce as long as Whites, Blacks, and Browns observe the unwritten rules and don't invade the wrong space. Too bad they're not making music all the time because that's the only time they seem in harmony. Then into this tense mix comes a guy everyone can despise, a child-molester (Davison). Worse, he's a white guy who even looks like "the man". So he's got as much chance of surviving as a minnow has among sharks-- that is, if the authorities don't pull him out first. And, kind of surprisingly, we wish they would since after listening to his "story", he seems more pathetic than wicked.
Two things to note. Catch how difficult it is for any kind of humanity to survive amid racially charged, oppressive conditions that the authorities (guards, supervisors) only make worse. Juan (Perez) wants to cling to some vestige, but he's got to do it within the unwritten rules. And, in this testosterone-soaked atmosphere, the problem isn't just ethnic, it's other guys in general. However, the most nightmarish part is the threat of emasculation, men being denied their identity and turned into substitute women. That scene in the shower between Cupcakes and Paco may be more unsettling than even the knifing in Psycho (1960). I expect this loss of sexual identity may be the most unnerving part of a genuinely frightening movie, by which Hollywood's prison films pale in comparison.
The story is about one floor of the lockup where the packed-in racial groups appear poised for combat like Europe in 1914. There's a tense truce as long as Whites, Blacks, and Browns observe the unwritten rules and don't invade the wrong space. Too bad they're not making music all the time because that's the only time they seem in harmony. Then into this tense mix comes a guy everyone can despise, a child-molester (Davison). Worse, he's a white guy who even looks like "the man". So he's got as much chance of surviving as a minnow has among sharks-- that is, if the authorities don't pull him out first. And, kind of surprisingly, we wish they would since after listening to his "story", he seems more pathetic than wicked.
Two things to note. Catch how difficult it is for any kind of humanity to survive amid racially charged, oppressive conditions that the authorities (guards, supervisors) only make worse. Juan (Perez) wants to cling to some vestige, but he's got to do it within the unwritten rules. And, in this testosterone-soaked atmosphere, the problem isn't just ethnic, it's other guys in general. However, the most nightmarish part is the threat of emasculation, men being denied their identity and turned into substitute women. That scene in the shower between Cupcakes and Paco may be more unsettling than even the knifing in Psycho (1960). I expect this loss of sexual identity may be the most unnerving part of a genuinely frightening movie, by which Hollywood's prison films pale in comparison.
- dougdoepke
- 4 sept. 2010
- Permalien
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- How long is Short Eyes?Alimenté par Alexa
Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- Im Netz der Gewalt
- Lieux de tournage
- Manhattan, Ville de New York, New York, États-Unis('The Tombs' jail)
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 300 000 $US (estimé)
- Montant brut aux États-Unis et au Canada
- 3 456 $US
- Week-end de sortie aux États-Unis et au Canada
- 2 204 $US
- 9 mars 2003
- Montant brut mondial
- 3 456 $US
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By what name was Short Eyes (1977) officially released in Canada in English?
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