"The Sniper" (1952), directed by Edward Dmytryk and produced by Stanley Kramer, emerges as a cinematic work that, although not reaching the heights of a masterpiece, offers an intriguing exploration of the depths of the human mind. With a moderate plot and moderately constructed characters, the film delves into the dark recesses of the psyche of Eddie Miller, portrayed by Arthur Franz, a deliveryman tormented by a sickening hatred for women.
The narrative plunges into the depths of Miller's psychosis, whose exacerbated resentment is triggered by an uncontrollable attraction to unattainable women. For him, the female presence is a personal affront, a wound that festers in his tormented soul. His torment reaches its peak when women are seen near significant figures, further inflaming his suppressed fury.
The anguishing symbolism is tangible when Miller, in an act of desperation, burns his own hand on an electric stove, a gesture marked by physical pain that echoes his inner turmoil. Subsequent medical negligence, by failing to follow through on the diagnosis of psychological assistance, only adds layers of tension to the narrative, foreshadowing the tragic unfolding yet to come.
The protagonist's rise as a precision shooter, armed with an M1A1 carbine, unleashes a series of brutal murders of women, perpetrated from a distance. Each shot is a distorted manifestation of his own anguish and despair. In a desperate attempt to be apprehended, he sends an anonymous note to the police, pleading for his own arrest, as the bodies continue to accumulate.
The introduction of Dr. James Kent, a psychiatrist, provides insights into the tormented Miller's diseased mind. Kent stands out among the authorities as the only one to understand that criminals like Miller require urgent and prolonged treatment. Simply arresting Miller is not enough, as another psychopath soon emerges to take the previous criminal's place, bringing new concerns for the authorities and fear to the population.
The film's conclusion surprises by deviating from typical genre conventions. Instead of a violent climax, we are confronted with a more subtle resolution, open to interpretation, as it shows a close-up of Miller's face with a solitary tear rolling down his cheek, challenging the viewer's expectations and offering a penetrating reflection on human nature.
It is worth noting that "The Sniper" marks Edward Dmytryk's triumphant return to directing after facing the shadows of Hollywood's blacklist and imprisonment for contempt of Congress. His mise-en-scène in weaving an engaging narrative, albeit hampered by Arthur Franz's hammy acting, is evident in every scene, guiding the viewer through a labyrinth of emotions and revelations. An example of Dmytryk's talent occurs in a seemingly mundane scene where a woman is seen collecting laundry from a clothesline; upon removing the last garment, the presence of an armed police officer, watching from the neighboring rooftops, is revealed.
However, it is important to recognize that the choice of Arthur Franz as the protagonist must be considered a serious and detrimental error to the film. His portrayal of the tormented killer Eddie Miller lacks the necessary brilliance to elevate the film. His dominating presence in the scenes undermines any attempt by the director or screenwriters to illustrate the criminal's psyche, leaving the viewer disappointed with the scenes depicted on screen.
In summary, "The Sniper", with its runtime of just 88 minutes, falls short of being considered a masterpiece of film noir. With its modest narrative and routine performances, the film may still find a special place in the memory of less demanding cinephiles or enthusiasts of the genre.
The narrative plunges into the depths of Miller's psychosis, whose exacerbated resentment is triggered by an uncontrollable attraction to unattainable women. For him, the female presence is a personal affront, a wound that festers in his tormented soul. His torment reaches its peak when women are seen near significant figures, further inflaming his suppressed fury.
The anguishing symbolism is tangible when Miller, in an act of desperation, burns his own hand on an electric stove, a gesture marked by physical pain that echoes his inner turmoil. Subsequent medical negligence, by failing to follow through on the diagnosis of psychological assistance, only adds layers of tension to the narrative, foreshadowing the tragic unfolding yet to come.
The protagonist's rise as a precision shooter, armed with an M1A1 carbine, unleashes a series of brutal murders of women, perpetrated from a distance. Each shot is a distorted manifestation of his own anguish and despair. In a desperate attempt to be apprehended, he sends an anonymous note to the police, pleading for his own arrest, as the bodies continue to accumulate.
The introduction of Dr. James Kent, a psychiatrist, provides insights into the tormented Miller's diseased mind. Kent stands out among the authorities as the only one to understand that criminals like Miller require urgent and prolonged treatment. Simply arresting Miller is not enough, as another psychopath soon emerges to take the previous criminal's place, bringing new concerns for the authorities and fear to the population.
The film's conclusion surprises by deviating from typical genre conventions. Instead of a violent climax, we are confronted with a more subtle resolution, open to interpretation, as it shows a close-up of Miller's face with a solitary tear rolling down his cheek, challenging the viewer's expectations and offering a penetrating reflection on human nature.
It is worth noting that "The Sniper" marks Edward Dmytryk's triumphant return to directing after facing the shadows of Hollywood's blacklist and imprisonment for contempt of Congress. His mise-en-scène in weaving an engaging narrative, albeit hampered by Arthur Franz's hammy acting, is evident in every scene, guiding the viewer through a labyrinth of emotions and revelations. An example of Dmytryk's talent occurs in a seemingly mundane scene where a woman is seen collecting laundry from a clothesline; upon removing the last garment, the presence of an armed police officer, watching from the neighboring rooftops, is revealed.
However, it is important to recognize that the choice of Arthur Franz as the protagonist must be considered a serious and detrimental error to the film. His portrayal of the tormented killer Eddie Miller lacks the necessary brilliance to elevate the film. His dominating presence in the scenes undermines any attempt by the director or screenwriters to illustrate the criminal's psyche, leaving the viewer disappointed with the scenes depicted on screen.
In summary, "The Sniper", with its runtime of just 88 minutes, falls short of being considered a masterpiece of film noir. With its modest narrative and routine performances, the film may still find a special place in the memory of less demanding cinephiles or enthusiasts of the genre.