“Like all deaf people, I don’t much like the blind.” ~ Luis Bunuel.
LOS OJOS DE JULIA / JULIA’S EYES is from Guillem Morales,
who brought us and the producers of THE ORPHANAGE, with Guillermo del Toro as exec prod again. It’s not quite as good as THE ORPHANAGE, which wasn’t quite as good as a Del Toro, but it’s still a fun, old-fashioned shock-thriller. Morales folds together two old warhorses, the blind girl in jeopardy and the identical twins plot — the first scene change, which implies that the death of one twin is felt by the other, miles away, establishes the blend of pseudo-science and folk superstition he’s working with. The heroine’s surname is Levin, a nod to Ira Levin, whose novel A Kiss Before Dying, filmed twice, uses the sister act murder detection ploy as plot motor.
What stops this being as effective as THE ORPHANAGE is the soupy music, chipboard husband character, and a plot which doesn’t quite add up: the death of one major character is left pretty well unexplained. Morales heaps on plot twists to cover the fact that several of his key twists are easily forseeable, but the fact that, during the longish section of the film where the heroine’s eyes are bandaged, all the other characters are framed with their heads out of shot, has an eerie and oppressive tension to it quite beyond its mere functionality to keep a secret from us.
Stylistic flourishes are the film’s strong point — inevitably, some version of WAIT UNTIL DARK’s climactic blackout must be attempted, and Morales delivers, fusing that swipe with a bit of REAR WINDOW for good measure. Recombining borrowed elements is a form of originality, I suppose, and when its done with this level of skill and confidence it can be exhilarating.
In common with Bruce Robinson’s JENNIFER 8, there’s also a queasy assumption that sighted children raised among blind people are going to be somehow marked or twisted by the experience. This isn’t anything the films insist on, it merely comes as baggage with the plotting which seeks to “explain” the killer’s obsession with the blind.
Since Fiona’s written a screenplay with a degenerative eye condition as part of the plot, she was worried that Morales might have pipped her to the post with the medical details in his film, but no worries: this is strictly movie medicine, with no evidence of even basic research to bolster the conviction. A shame: even a rather minor suspenser like BLINK shows the value of digging up obscure info on your subject, and the film’s credibility is already slightly stretched by the way the plot keeps hurling the heroine into darkened corridors, cellars, power blackouts etc. Still, as an old-fashioned twister with giallo style but minus the misogyny, this is a diverting ride.