Phone Booth () ending / spoiler
Stu naturally answers the phone, only to find the caller on the end is an invisible sniper who knows everything on Stu, including his relationships. The caller now. She at first played hard-to-get and claimed their growing relationship was a conflict of interest, although she crossed .. Phone Booth () As he was placing a call to her at work in a public phone booth (to avoid detection from Kelly who. Note: In the spirit of the movie Phone Booth, which supposedly takes place in real Phone Booth is a clever thriller with a brain-dead ending.
On this particular day, Stu receives a call when he steps into the booth. The call is from an unknown man Kiefer Sutherland who argues with Stu and seems to know everything about him. As Stu is about to hang up, the caller tells Stu that he has a rifle pointed at the phone booth and that if Stu leaves the booth, he will be killed. Stu must then deal with a series of challenges including the police.
Phone Booth is a fascinating film precisely because of the difficulty in getting a film like this to work. You have limited visuals you can offer the audience because the film is confined to a very small set. You need the perfect actors because they have to carry the plot with little help from modern storytelling techniques. There is no CGI, no high speed chases, and only one man is in danger. Not to mention, you need to come up with a reason why this film stays confined to the phone booth and why the conflict you will use to keep the audience hooked must play out there.
In fact, the idea of a film taking place entirely within a phone booth was originally pitched by writer Larry Cohen to Alfred Hitchcock in the s. Thirty years later, Cohen came up with the right idea: What Cohen did was invent a character, the caller, who wanted to toy with Stu. Making him a sniper justified keeping the story in the phone booth.
Phone Booth (film) - Wikipedia
As an interesting aside, this film ultimately had its release date pushed back because of the DC Sniper. But more importantly than coming up with the sniper, Cohen brilliantly gave the character a truly twisted motivation. This is a fascinating motive if you think about it. On the one hand, the caller is right. He wants Stu to be a better man, and if Stu stops lying he would be. Thus, in many ways, this is an admirable goal, and you could easily see this being an uplifting movie about a priest or therapist or friend who struggles to teach this to Stu.
Phone Booth (2002)
BUT, the way the caller chooses to go about this goal ultimately makes him a sadistic and evil villain. This makes the character very interesting. At the same time, this desire to cure Stu gives Farrell a lot to work with. Farrell is forced to admit to his wife that he is flirting with another woman. Because Stu so regularly comes to this particular phone booth, "the last one of its kind," according to the shooter's voiceover narration, he's an easy mark. Because Stu thinks he's got everything so under control, that he can cheat a little here and there, and that a little material flash allows him moral wiggle room, the shooter erects an elaborate motivation for himself, the mission to punish those who abuse their privilege.
Phone Booth () questions and answers
The shooter thus conveys a certain menace, but also a certain predictability. Claiming that he's previously shot a couple of other sinners, this holier-than-thou serial killer is surely familiar see Seven's John Doe, for one instance, or the Unabomber. The shooter's reasoning is self-supporting: At the same time, the shooter represents newly terrifying possibilities.
He doesn't need to stalk anyone in alleys or park across the street from his apartment. All he has to do is trace his credit card or phone records, watch him occasionally from a long distance, and then aim a high tech weapon at him from blocks away, the little red dot of a laser sight the only sign -- and important one, of course -- that might give him away.
A function of increasing anxieties about security, surveillance technology, and loss of privacy, this sniper is symptomatic, of the selfish, cynical, isolated culture he despises as well as a disturbing, bureaucratic response to it. Directed by Joel Schumacher whose experiences on Batman and Falling Down seem equally applicable herethe film opens brilliantly, with the camera seeming to cruise via digital effects through a twisty, sinuous cavern of communications, a series of wires and circuits, before it bounces off satellites and diving back inside the microchips that keep track of most every aspect of urban life.
Emerging briefly to appreciate a live curbside performance by a doo-wop group production credited to DJ Shadowthe camera then takes up its rush again, following Stu as he hurls himself down the sidewalk, barely pausing to breathe as he wheels and deals. Stu's careening, and the apparent obliviousness of the women he balances so precariously while the film does so deftly, with split screenssuggest that his recklessness is a way of life, not his fault exactly, but a common condition, well-known to everyone watching him, including the shooter.
Still, the film's frequent assumption of the shooter's point of view doesn't so much put you in his position as it does demonstrate how easy it is to abuse and judge, to assume moral high ground when none is warranted.
The single character who comes off looking decent is Captain Ramey Forest Whitakerobservant negotiator and all around nice, if bland, guy. Though he arrives on the scene believes the guy in the booth is a murderer, and takes some understandable offense when Stu at the shooter's behest starts casting aspersions on his manhood, Ramey figures it all out pretty quickly.