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Raising Cain (1992)

Raising Cain (1992)

John LithgowLolita DavidovichSteven BauerFrances Sternhagen
Brian De Palma


Raising Cain (1992) is a English,Spanish movie. Brian De Palma has directed this movie. John Lithgow,Lolita Davidovich,Steven Bauer,Frances Sternhagen are the starring of this movie. It was released in 1992. Raising Cain (1992) is considered one of the best Crime,Drama,Horror,Thriller movie in India and around the world.

Jenny Nix, wife of eminent child psychologist Carter Nix, becomes increasingly concerned about her husband's seemingly obsessive concern over the upbringing of their daughter. Her own adulterous affair with an old flame, however, causes her to neglect her motherly duties until a spate of local kidnapings forces her to accept the possibility that he may be trying to recreate the twisted mind-control experiments of his discreditied psychologist father.


Raising Cain (1992) Reviews

  • Underrated


    The Multiple personality disorder has been subject of stories ever since Stevenson's famous novel "The strange Case of Dr. Jekyll and Mr. Hyde". Here, in "Raising Cain", director Brian De Palma shows everything he learned from studying Hitchcock and gives us a good story of suspense that although flawed, it is very enjoyable and gives the chance to shine to the underrated actor John Lithgow. Lithgow stars as Dr. Carter Nix, a brilliant psychologist that is spending a year at home in order to care for his little daughter. Jenny(Lolita Davidovich), his wife, is concerned that he is becoming obsessed with it, and her problems increases when she finds Jack Dante(Steven Bauer), an old lover who is interested in continue their affair. Little she knows that not only she'll have to face his husband Carter, but also his other personality, the evil Cain. Many reviews have complained that there is never a mystery that Carter and Cain are the same person. Well, that is because it is never intended to be a mystery. This is a suspense movie. As Alfred Hitchcock used to say(and no doubt that De Palma knows it), suspense is in the fact that the audience knows more than the characters. We know that Cain can appear at any time, and how the characters react to him is what keeps us thrilled. John Lithgow truly shines as the troubled Carter/Cain, in a role that brings back memories of his superb performance in "The Twilight Zone". Sadly for the movie, the rest of the actors give awful performances, Davidovich and Bauer have zero chemistry on screen, and almost no charm, so since their characters do not have redeeming qualities, one ends up wanting them to be killed by Cain. One big exception is Frances Sternhagen, who in her little screen time steals the show. Watch her in an amazing sequence as her character, a retired psychologist, explains the mental disorder to the detectives. That sequence is typical De Palma's perfection and Sternhagen makes the most of it. The script is for the most part OK, and so is the directing. Not De Palma's best, but certainly satisfying; his obsession with Hitchcock's suspense is notorious, but still he manages to give the movie his own style and while this do not save completely the movie, will be appreciated by those who enjoyed "Dressed to Kill" or "Sisters". To summarize, it is a better than average movie with superb performances by John Lithgow and Frances Sternhagen. Don't watch it with high expectations and you'll be satisfied. 7/10

  • Sisters meets Scream meets Lost Highway meets god knows what

    David Sticher2001-03-01

    Raising Cain is an awesomely baffling set of pomo hijinks care of the man De Palma. I can't blame the hordes of people who hate this movie for its nastiness and incoherency, but those are the reasons I love it so much. It's a total parody/homage/celebration of the kind of razor-inspired fun De Palma spent much of his career perfecting, with the fun (and intentionally self-destructive) gimmick of presenting the movie more or less from Carter's point of view. With this, the movie trades conventional thrills, chills, and spills for a sneakier sort of fun. Instead of putting together the sort of hallucinatory bloodbath De Palma specialized in, he takes it apart. It's like he took all of his box-office successes, threw them in a blender, and kneaded the mixture into an extended nightmare sequence of half-remembered horrors, unreliable visual intake, and malformed cliches. If you try to take it as a straight thriller, it'll never work. It's a thriller plot turned into a horror flick, where instead of being the brave wife protecting people from her deranged husband, we're the deranged husband, not sure where we are or who we are, doing terrible things we don't quite understand, in a dreamworld constructed entirely of cliches and stock terrors. Scream would take the parody aspect into firmer territory and Lost Highway would take the insane protagonist aspect into firmer territory as well, and both of those films worked very well, but Raising Cain gets the ultimate thumbs-up from me for being constructed much like my own nightmares and for genuinely surprising me from time to time, not to mention for creating a feeling of urgency and sympathy for Carter. If you're into really oddball flicks, give Raising Cain a chance.

  • A Great Psychological Thriller. A must for de Palma fans.


    This has a seemingly convoluted plot. Carter (et al., played exceptionally well by John Lithgow) begins to grow strange when he learns that his wife is having an affair with her ex. He becomes more obsessed with their young daughter and a rash of kidnapping/ killings occur. His wife (Lolita Davidovich) must figure out if he is behind the crimes or if his "dead" father, who committed experiments on children to develop multiple personality disorders, is to blame. Whew… What makes this film interesting, other than the above-stated reasons, is that they give away one of the twists at the very first scene. The audience is already aware that Carter has multiple personalities. What makes it more intriguing is that de Palma tricks the audience with constant flashbacks, dream sequences, and appearances made by "dead" people that are not really dead. The film starts a tad slow during the first 15 minutes and seems Lifetime Channel worthy. But as the film progresses, it gets trippier and more Hitchcockian (paranoid, obsessive, and voyeuristic with a knock out ending). Oddly enough, this is rated "R", but for very little reason. There is no nudity, minimal sex, minimal violence, and no gore at all. Most of the violence is implied and the tension comes from the suspense built by de Palma, the disturbing subject matter, and dark atmosphere. There are a few standout scenes that will creep the viewer out. My favorite was the hospital scene. It literally had me sinking into my couch as this thing slowly turns towards me. It scared the bejesus out of me and had me rewinding to catch a glimpse again. Other noteworthy scenes include the interrogation scene where Lithgow weaves in and out of his different personalities and the ending that is incredibly reminiscent of "Dressed to Kill". Favorite Quote: "Hickory dickory dock. Cain has picked his lock. He did a bad deed and Josh comes to bleed. Hickory dickory dock." DVD Extras: The barebones from Universal. Only Brief Production Notes and Original Trailer. Bottom Line: A great psychological thriller. Gorehounds should pass though. A must for de Palma and Hitchcock fans. Rating: 7/10

  • Good, dark, twisting little thriller


    After reading the reviews here I felt the need to defend this film. OK so it's not the best film in the world but what it is, is a good, dark twisting little thriller. John Lithgow as Carter, Cain, Josh etc. is great and convincing in every role that he plays, as are the supporting players. The film is shocking, funny and sad. POSSIBLE SPOILERS AHEAD!!!! Shocking is Jack's dying wife movements being reflected on the TV, funny is the character of Dr Waldheim and sad is the abuse inflicted on Carter by his dad. END OF SPOILERS If you go into the film expecting too much then you may well be disappointed but if you have no expectations and love black comedy then this film is for you. And compared with DePalma's most recent films (Snake Eyes, Mission to Mars) this film is a masterpiece, although obviously nowhere as good as Carrie.

  • Here We Are, On Familiar Ground


    Brian de Palma was once a great director who could do magic with his keen sense of suspense that paid a heavy homage to the works of Alfred Hitchcock, Orson Welles, and Sergei Eisenstein. However, he tried to sever himself from his patent themes of choice and tackled other genres. While he excelled with his crime drama THE UNTOUCHABLES, he failed miserably with THE BONFIRE OF THE VANITIES. So by 1992 he decided (like most directors of a known style going through a bad patch) to go back to what he was known for. One problem, though. Assuming the role of screenwriter became his big misstep because as much as the idea works on paper, his dialog almost ruins the movie. It's the same thing that affected DRESSED TO KILL in which Nancy Allen was given some horrendous lines to say even when that film is a fantastic exercise in suspense and a correct reconstruction of a well-known story -- that of PSYCHO. However, de Palma creates a masterful dream-like world not that different thematically from the worlds of Luis Bunuel and his bourgeois, caught in the middle of their own frenzied dreams which are harbingers of nightmares, waking up to find they may still be in the middle of something not quite real. The story opens up layers upon layers of mystique and mystery and reveals information only in fits and spurts, which leaves us in a state of wondering what the hell are we watching at times. Indeed, it may take one more view to get the impenetrable mess that RAISING CAIN is, and this is due to the fact that so many of Carter's personalities come forth like an unseen cast operating only under John Lithgow's chameleon-like persona. In showing the two characters battling for the upper hand by placing Lithgow being a tree, for example -- a technique Peter Jackson would use for scenes in which Gollum and Smeagol shared their twisted, tragic banter about the wretched Ring in his LORD OF THE RINGS: THE TWO TOWERS -- he has one of the best moments of duplicity ever seen on screen, and one that doesn't need split screens or special effects to be potent. But interesting as well is how another character is introduced, also under the persona of Lithgow. Margo, a kind woman, is only described by Lithgow's own words as being one "who looks after the children." I find it interesting that for Carter to be set free he has to let this female personality come forth and lead him to sure escape. As to whether she will remain as a dominant personality when she appears in the final reel remains a mystery but like Bunuel films, it's there, unexplained, shown mainly for a shock tactic a la UN CHIEN ANDALOU, but in a less threatening way. RAISING CAIN is a pretty slick movie that should be seen at least twice. There is so much happening with its plot, and so much interpretations that can be given to the dreams that blend in with the reality which in itself may be a dream that it may well be one of his better films, underrated because of the fracas of BONFIRE. It's intoxicating, and a Brian de Palma movie, this is it, hands-down. Every scene is a hoot to watch: it's as if the director had a huge bag of tricks that were part of his style and he had decided to let them all out in a flood of images and great sequences. And this is not something directors of a certain vision can say they do. I have to say I loved every homage and element thrown in. The dream within a dream sequence, Dr. Waldheim's (Frances Sternhagen) explanation that follows her throughout a winding set of hallways before having the camera zoom in on a victims horrified face, Carter's wife Jenny's (Lolita Davidovich) sudden awakening inside a car that is sinking into a swamp (another PSYCHO link) and the final showdown happening at several levels and in slow motion. If anyone can do high suspense today, it's de Palma.


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