What is a seemingly trivial photograph meant to represent? Is it merely an experience imprisoned in a single frame, forever unalterable, or is it something more? Could it be a vivid portrayal of a human life, begging to be interpreted and analyzed by its viewers? These are all questions pondered by Sy Parrish in Mark Romanek’s psychological thriller, “One Hour Photo”.
Robin Williams stars as Sy Parrish, a lonely-on-the-outside, sophisticated-on-the-inside, photo developer at a local photo counter. It becomes quite clear early in the film that Parrish takes great pride in his work-not only does it provide him with a steady income, but it generates in him a profound sense of meaning and purpose. This meaning and purpose, however, eventually proves to be physically and emotionally detrimental to other characters in the story.
It is not surprising that Williams is adopting a particularly dark and disturbing role for this picture, for it is his third dramatic performance within the past year. His two previous movies are “Death to Smoochy” and “Insomnia,” both of which place him in a position of power and control, inducing fear on behalf of the viewers. Williams’ ability to take on multiple personalities and mannerisms makes Photo even more interesting, as many of us have learned to laugh at Williams, not cringe in our seats.
Parrish has been developing photos for 20 years, and generates an intense obsession with one particular family whose members are regular customers. The Yorkin family is an excellent depiction of how a group of people can appear to be close-knit and tightly bonded to an outside observer, yet in reality are undergoing various stages of atrophy and destruction. Nina (Connie Nielsen) is loving towards their cute son, Jake (Dylan Smith), though it is established early on that something is missing in her relationship with her husband, Will (Michael Vartan). Parrish immediately latches onto their apparent togetherness, and comes to think of himself as “Uncle Sy.” While the Yorkins are out taking part in the day’s activities, Sy daydreams about exploring their house, using their television and kitchen, integrating himself into their rich lifestyle. As Jake plays little-league baseball, Sy watches from the bleachers and proceeds to walk him home.
Parrish’s fetish with the Yorkin family and passion for developing photos eventually prove to be a deadly combination, as Sy discovers a horrifying and sinful link between Will and another customer. As he gathers more information, his timid obsession transforms into a dreadful, disturbing hate and eventually he grabs a butcher’s knife, which is when the movie starts to get exciting.
The acting in Romanek’s latest film is superb, mostly with regards to Williams’ character. Robin Williams has obviously developed a handle on roles which force him to expand his boundaries and conquer some new territory. The fact that viewers are so accustomed to William’s comical nature makes his performance even more intriguing and powerful. In my opinion, this is the type of character Williams should be experimenting more with, and it seems as though he has a genuine desire to do so. Nielsen also brings a reserved forcefulness to her character, curious and knowledgeable of others’ intentions, though not quite sure how to go about solving the problem.
The premise of “One Hour Photo” is extremely compelling and inventive, though the plot does not start to pick up until the movie is half-way over. During the first 45 minutes I was thinking to myself, “Okay, this is really cool, but where are we going with this?” The plot is not truly established until Williams comes to his miraculous discovery, allowing his character to go off the deep-end and become twice as watchable and twice as scary, simultaneously.
Surprisingly, the movie says a lot about family values and what our standards should be. At the same time, the viewer embarks on a riveting journey to discover what can happen when an obsessed and disturbed observer acknowledges and seeks to correct a family’s imperfections.
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