Eyes of Laura Mars
| Eyes of Laura Mars | |
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Theatrical release poster
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| Directed by | Irvin Kershner |
| Produced by |
Jack H. Harris Jon Peters Laura Ziskin |
| Written by |
John Carpenter David Zelag Goodman |
| Starring |
Faye Dunaway Tommy Lee Jones Brad Dourif René Auberjonois Raúl Juliá |
| Music by | Artie Kane |
| Cinematography | Victor J. Kemper |
| Edited by | Michael Kahn |
| Distributed by | Columbia Pictures |
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Release date
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Running time
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104 minutes |
| Language | English |
| Budget | $7 million |
| Box office | $20 million |
Eyes of Laura Mars is a 1978 American mystery-thriller film starring Faye Dunaway and Tommy Lee Jones and directed by Irvin Kershner. The screenplay was adapted (in collaboration with David Zelag Goodman) from a spec script titled Eyes, written by John Carpenter, and would become Carpenter's first major studio film of his career. The late H. B. Gilmour would later write the novelization, one of at least six that marked her literary career.
Producer Jon Peters, who was dating Barbra Streisand at the time, bought the screenplay as a starring vehicle for the actress, but Streisand eventually decided not to take the role because of "the kinky nature of the story," as Peters later explained. As a result, the role went to Dunaway, who had just won an Oscar for her performance in Network. Streisand nevertheless felt that "Prisoner," the torch song from the film, would be a good power ballad vehicle for her. She sang it on the soundtrack and garnered a moderate hit as a result (the record peaked at number 21 on the Billboard Hot 100).
Eyes of Laura Mars is said to be an example of an American version of the Italian giallo genre. The film is also noted for its use of red herrings and its twist ending.
Laura Mars (Faye Dunaway) is a glamorous fashion photographer who specializes in stylized violence (based upon the work of Helmut Newton, who provided the photos used for the film.) In the middle of controversy over whether her photographs glorify violence and are demeaning to women, Laura begins seeing, in first person through the eyes of the killer, real-time visions of the murders of her friends and colleagues.
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