Published via Ecency

(source: tmdb.org)

Nothing is more frustrating that to see original and intriguing idea being wasted on a subpar or mediocre film, especially by someone who should have know better. Michael Crichton, celebrated father of "techno thriller" genre, did just that with his 1981 film Looker.

Protagonist, played by Albert Finney, is Larry Roberts, top plastic surgeon at Beverly Hills. Some of his patients belong to the group of beautiful models, specialised for working in television commercial, on whom he performed bizarre and seemingly needless surgeries with millimetre-scale specifications. The women have recently began perishing in bizarre traffic accident and suicides. Roberts takes great interest in the case because he became person of interest for police, which doesn't rule out foul play. Another reason is his fondness for Cindy Fairmont (played by Susan Dey), another model and patient whom he befriended and who might next victim. He begins his investigation and the trail leads to Cindy's and other girls' employer – Digital Matrix, company specialised in advertisement research and analysis. Its executive Jennifer Long (played by Leigh Taylor-Young) explains that the company developed new technology which allows for models to be digitally scanned and their images later superimposed into videos and made to act just like real models. As Roberts continues to investigate, he also encounters sinister-looking "Moustache Man" (played by Tim Rossovich) who was really connected with the models' deaths and who is equipped with strange "light gun" that temporarily stuns its victims into catatonic stupor.

Basic concept of the film – making 3D digital images of people and later manipulating with them in films and videos – is banal reality today, but in mid 1970s, when Crichton first contemplated this film, school trips to Venus and Mars looked more likely. Crichton, always fascinated with technological progress, quickly recognised the potential of emerging computer imaging technology, but he also recognised possibility that such it could easily be misused through what is now known as "photoshopping" or "deepfake". Looker is the first film that actually create 3D shading and represent important milestone in development of CGI. This procedure is displayed in the film's most iconic scene which was, ironically, better remembered for Susan Day, former star of Partridge Family and future star of L.A. Law, appearing completely naked.

In order to watch that sight, viewers might endure a lot. While he had great idea at the time, Crichton was temporarily deprived of its scriptwriting ability, so Looker suffers from terrible characterisation and the plot which is, despite being rather simple, incomprehensible for most viewers. Crichton chose his cast poorly. This includes British veteran Finney who is unconvincing as doctor turning into action hero and he completely lacks chemistry with Dey. James Coburn is wasted as corporate villain and completely overshadowed by Rossovich as his imposing Terminator-like henchman. The worst thing happens at the very end, during the showdown that takes place in studio and during which audience might watch bizarre television commercials with digital actors superimposed into sets while protagonists fights villains to the death. There are some good things about Looker, mainly an impressive stunt during one of the killing scenes and very effective electronic music soundtrack by Barry DeVorzon. But this isn't enough to bring much attention to viewers who aren't interested in history of cinema technology.

RATING: 4/10 (++)