Hollywood remakes seldom work. That happens even to films made by some of best directors in history of American cinema. One of them is Martin Scorsese whose 1991 thriller Cape Fear is considered to be one of the lesser works in his impressive filmography.
The film is based on The Executioners, novel by John D. McDonald which was first adapted as in 1962 as Cape Fear, black-and-white film directed by J. Lee Thompson and starring Gregory Peck and Robert Mitchum. Protagonist of the new version is Sam Bowden, well-to-lawyer who lives in New Essex, North Carolina with his seemingly picture-perfect family – wife Leigh (played by Jessica Lange) and 15-year old daughter Danielle “Danny” (played by Juliette Lewis). Plot begins when Max Cady (played by Robert De Niro) leaves Georgia prison where he had spent last 14 years serving for statutory rape and sexual battery of 16-year old girl. Cady goes to New Essex where he begins to stalk and intimidate Bowden and his family. He has good motive to do so, since Bowden represented him at trial and, disgusted with his behaviour, deliberately hid exculpatory evidence thus guaranteeing conviction and long sentence. Cady is determined to make Bowden’s life living hell not only through veiled threats and intimidations, but also through clever manipulation of his family, with young and rebellious Danielle being the most tempting target. Bowden seems helpless, because Cady has spent his prison years learning to read and became familiar with the law, thus never doing anything that could bring him back behind the bars. With police all but useless, Bowden in desperation hires Claude Kersek (played by Joe Don Baker), private investigator who tries to get rid of Cady through unconventional means, but his plans tend to backfire in spectacular way.
New version of Cape Fear was originally developed for Steven Spielberg. He refused the project, considering the subject too dark for his family-friendly image and instead offered him to his friend Martin Scorsese. Director best known for his gangster films tackled remake of classic thriller with great enthusiasm, using any opportunity to show his great skill and baroque style of directing. He also worked very hard to pay homage to the original. He used parts of original cast – Peck, Mitchum and Martin Balsam – in small camero roles and the music score by Elmer Bernstein was built on the original score by Bernard Herrmann. But this is nevertheless unmistakably Scorsesean film, in most part due to the presence of Scorsese’ old associate Robert De Niro who delivers another grand performance in the role of Max Cady. De Niro does great job not only by handling Southern accent but also by working out and developing physique, augmented by large tattoos, that would make figure of Max Cady even more intimidating and threatening. Character, which represents one of the most iconic villains of 1990s Hollywood, is multi-dimensional – he is both dangerous, ultra-violent madman, but also can present himself as righteous avenger and clever manipulator, able to seduce innocent women. Nick Nolte, who actually went to rigorous diet to look smaller than De Niro, does good job, but he is easily overshadowed by De Niro. Much better impression is provided by Juliette Lewis in one of her first major roles, in which she displays teenage sensuality, vulnerabity and naivety, especially in memorable but disturbing scene when Danny gets seduced by manipulative Cady.
Cape Fear is a good film, but, ironically, Scorsese’s direction makes it worse than it could have been. Scorsese is too many times too much in love with his style and often unable to resist temptations given by large budget. The result is bloated film which often features spectacular but unnecessary scenes (like the street parade reconstructing important episodes of US history) and the pacing, especially during the climactic showdown near the end, is slow, resulting in Cape Fear being at least thirty minutes too long. But even more problematic is Scorsese’s decision to stray from the original by attempting to make it Bowden not only physically inferior to his tormentor but also morally compromised. Bowden not only pays for disregarding his professionalism and betraying the client, but is also presented as philanderer, weakling and person willing to bend the law, which makes him as flawed as Cady. Scorsese also makes other members of Bowden family unlikeable, thus turning Cape Fear into often unpleasant viewing experience. This, and the finale during which Cady looks like the character from thriller and more like unstoppable and unkillable monster from slasher films, compromises much of good work Scorsese invested into film. Despite that, Cape Fear won very good reviews and had even more impressive results at the box office. Those who watch the film today would probably agree with initial verdict.
RATING: 6/10 (++)
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