Fear City (1984)

Fear City is a 1984 film directed by New York legend Abel Ferrara. Like many of his films, Fear City takes place in the seedy underbelly of New York City, specifically the libidinous pleasure centre that was pre-Giuliani Times Square. Tom Berenger, an ex-boxer, runs a mob-linked talent agency providing exotic dancers to various strip clubs. The star attraction of his roster is his ex-girlfriend Loretta, played by a sultry and often nude Melanie Griffith. Things go south for Berenger when a deranged Kung-Fu expert, with an apparent hatred of women working in the "entertainment"industry, begins killing dancers with various sharp implements, including curvy knives, razor blades, and even a large sword. Understandably, this freaks the dancers out and Berenger's business effectively comes to a stand-still, while also inflaming mob tensions. Berenger must confront his foremost demon, the bitter memory of killing an opponent in the ring, before he is able to find "The New York Knifer," save his business, and protect his love, the now drug-addled Griffith (she relapses after her lesbian lover is killed by the "Knifer").

This film is directed with the typical seedy panache of Ferrara, who transforms what could be a dreary, rote slasher film into something vibrant and visceral. Berenger delivers a broody, muscular yet effectively sensitive, performance - sitting somewhere between Brando's Stanley and Paul Newman's Cool Hand Luke. Griffith's strange combination of child-like naivete and unabashed sexuality work well in the role, yet she isn't required to do much more than wear slinky evening wear (something, however, she does quite well). Maria Conchita and Rae Dawn Chong also feature, Conchita in particular delivering a memorable turn as the sassy dancer Silver (sadly, both succumb to the fanatic "Knifer").

Like many of Ferrara's films, Fear City strikes a strange and occasionally uncomfortable balance between vaguely Feminist critique and brutal mysogynistic fantasy. The film overtly links the brutal violence inflicted by the "Knifer" to their oppressive circumstance in various smut parlours, yet delivers most of its thrills through either sexual or violent titillation. The film's climax, a high noon showdown between Berenger and the Knifer, suggests a possible redemption through masculinity and violence, however Ferrara adept direction and sultry visual style redeems the work from feeling prescriptive or simplistic. Fear City is a film about dark, dangerous worlds, and often dark, dangerous people; Ferrara's refusal to deliver simple, moralistic solutions is admirable, allowing us the greater pleasure of immersion into his vibrant, yet depraved milieu.