180805: Hitchcockesque. Stands the test of time well and totally overdue for a sequel.

Classic films never call for remakes, but when they do, nobody does it better than Marty. Cape Fear is one of his greats. Even after entering a new era in his career following GoodFellas, Cape Fear hearkens back to the days of Taxi Driver, in an equally bone-chilling and psychotic performance by Robert DeNiro. It's a near perfect, old Hollywood style psycho-thriller. Other than DeNiro, it is the cinematography, the editing and the music that makes the picture come alive. It has all the grit and cynicism of a Scorsese picture, with the big production values of a Spielberg picture.

If you hang onto the past, you die a little each day. I was 11 years old when this movie came out and I remember all the "grown ups" talking about Cape Fear. Finally, at 37 years old I watched the movie since it was on Netflix. I thought it was great!I studied the characters in detail and how their daily lives where fear based (for obvious reasons.) But, the plot was great because it brought out some sins tucked away. Each day that passed, their fear grew stronger.Numbers 32:23, "Thy who chooses not to, behold, thy sinned against'd the Lord; and be sure your sin will find you out."Robert De Niro and Nick Nolte did an excellent job going back and forth as lawyers.

Not one of Martin Scorsese's best films by a long shot (though he has also done worse). This said, as said in my review for 'Hugo', even when Scorsese was not at his best the films in question were still better than the worst films of most. This is also coming from a director who when at his best, like with 'Goodfellas', 'Raging Bull' and 'Taxi Driver' for examples, gave some of the best films out there.'Cape Fear' is a remake of the 1962 film with Gregory Peck and Robert Mitchum. While the remake may be slicker visually (the earlier film is still very well made instead, but Scorsese's film is gorgeously audacious) and be bigger and more expansive in its themes and character complexities, there is a vast personal preference for the more atmospheric, creepier and more eerie earlier film, one that didn't need excessive violence, gore or profanity to deliver the shocks, with an ending that was a masterclass in sexual tension and quivering fear and Mitchum unforgettably burning into the memory as how to haunt one's nightmares wile doing it in a much more subtle way.This is in no way denouncing Scorsese's film though. It is not as good (often very good though with major problems, while the 1962 film to me is a near-masterpiece let down only by the female characters not being as interesting) and perhaps not necessary. However, compared to how a lot of remakes have fared, which has seen abominations like the remakes for 'Psycho' and 'The Wicker Man' that should never have been made in the first place, it isn't halfway bad and hardly an amateur project.Where Scorsese does score over the 1962 film is in two things. One is the more expanded upon relationship between Cady and Danielle, which is genuinely disturbing and effectively makes the skin crawl as ought, it also further added to what was an already sadistic human monster (or shall we say psychopath?) like Cady. Even more so of an improvement is the portrayal of the Bowden family, instead of being humble and neatly black and white like it could have been (not knocking the 1962 film here) each member were portrayed as flawed characters with strengths and vulnerabilities, and much more of a family falling apart at the seams.Visually, 'Cape Fear' looks fantastic, the use of cinematic techniques not only dazzling in technical beauty but also adding a lot to the horror-like atmosphere rather than distracting. That is not surprising considering that it is the work of the great Freddie Francis, achieving great success with the likes of Amicus and Hammer. The film cleverly utilises Bernard Hermann's wonderful score from the 1962 film, arranged and conducted by Elmer Bernstein, there was the worry as to whether it would sound melodramatic, exaggerated and anachronistic in this particular film when it worked so brilliantly in the 1962 film, but it actually succeeded in giving the film a real eeriness and dramatic thrust and tension.A good deal of 'Cape Fear' is hugely entertaining. The first half in particular is rich in dreaded suspense and genuine entertainment. There are too scenes that chill the blood, like the scene between Cady and Lori and that between him and Kersek. Scorsese directs adeptly, often with a visual mastery, a knack of suspense and compelling character interaction.Robert De Niro's performance has been praised for being terrifying but also criticised for being over the top to the point of being a cartoon, both valid opinions. To me, while there is a much bigger preference for the creepier but more understated Mitchum and there are times where De Niro does fall into overdone parody, it is a very powerful and often scary performance in a fascinating, chilling and larger than life role, apart from the unstoppable Terminator-like traits in place bordering on the cartoonish. Nick Nolte does a very good job, bringing intensity and empathy to a morally ambiguous character that is written as much more than a heroic sort of role.Juliette Lewis' performance has also polarised viewers, again to me she was compelling in her rebellious attitude and sexual curiosity but also in the ability to think straight. Joe Don Baker is the standout in support and a casting highlight, a very strong performance. Having Peck and Mitchum (and Martin Balsam) in cameo roles the anti-thesis of their 1962 'Cape Fear' characters was a masterstroke.However, was not crazy about Jessica Lange, a very good actress. She didn't have an easy character to play, one with not a lot to do and one who seems to be in permanent shock and terror, but Lange both overdoes it and phones it in to the point that the character is annoying. While absorbing most of the time, especially in the first and second acts, a few of the Cady character building scenes did drag and go on for too long, 20-25 minutes trimming may have made things better.More problematic was that the thicker the story got the more excessive it got too. Especially suffering is the ridiculously unintentionally funny and illogical scene where Kersek's body is found and an ending that is ludicrously overblown and missing the suspense, sexual tension and quivering fear (plus that masterly improvisation touch with the egg) conveyed so unforgettably in the 1962 film. The violence did disturb a good deal, but at numerous times it didn't feel necessary, sometimes less-is-more and more atmosphere is better, and felt over-the-top, cartoony and more at place in a graphic cartoon or something.All in all, inferior but still surprisingly well done despite being a long way from perfect. 7/10 Bethany Cox