When it comes to famous Sociopaths Of The Silver Screen, it is so easy to overlook Seymour "Sy" Parrish, played by Robin Williams twelve years ago, in the 2002 film, "One Hour Photo."
You have to feel kind of sorry for Sy. In the film, his character is overlooked, and, historically, despite an almost groundbreaking performance by Robin Williams, he is overlooked in film posterity. This is because the film surrounding him is not that good. His character is great; the material given to develop it, not so.
This is because director Mark Romanek did not know what to do. He did not want to give it a slasher ending, because the character's psychosis was explored, and calibrated more carefully than even that of Glenn Close in "Fatal Attraction." But the 1987 film had that bang up Hollywood ending, and while "One Hour Photo" ended realistically, it was almost too exploratory for audiences. It needed some kind of a jolt, like what Hitchcock gave with "Psycho." But Romanek hadn't the ability to come up with anything, or pull it off.
Credit must also be given to cinematographer Jeff Cronenweth, who developed the blue on white isolationist world of Sy's photo booth at his job, as well as the obsessive atmosphere at Sy's equally sparsely furnished home--save for his Wall Of Obsession.
That Wall is covered with photos of the Yorkin family--customers of Sy's who, at first, are on those friendly store kind of terms many of us are at places we know. But this turns, for Sy, into an obsession, as the Yorkins represent everything in life he does not have, yet wants. That is, until he finds out the husband is cheating on the wife. And he discovers this, accidentally, through his job. From that point, the film develops into Sy losing his perspective, unleashing a psychosis, where he goes after the husband, to right the wrongs he has done to his family, make him appreciate what he has, and, somehow, restore the Yorkins to one another.
But it does not work out that way. Sy is apprehended; it is clear he is going to be institutionalized, but, in a bit of dramatic ambiguity, suggesting Romanek was going for something beyond slasher territory, Williams makes a speech about people taking pictures of others. The impression I got was he became the way he was because someone--his parents, maybe--abused him by photographing him sexually, while still a child. This would do it, I can tell you, but the film needed a kick ending. Romanek was just out of his league.
Too bad, because the work of Williams and Cronenweth outdoes everything else. Sy may still be forgotten among Silver Screen Sociopaths, but I say he is worth a look!!!!!!!!!!!!!!!!
Smile, for the camera, darlings!!!!!!!!!!!!!!!!!!!!!!!!
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