Win Hocking's Daniel Hugh Kelly ... Scotty Harley Cross ... Tommy Joanne Baron ... Helen Greening Anthony Bishop ... Waiter David Berman ... Cop #1 Sharon K. Break ... Bimbo (as Sharon Break) View production, box office, & company info. Edit In Queens, Mike Keegan is celebrating with his wife Ellie, his son Tommy and friends his recent promotion to detective in a precinct in Manhattan.
Meanwhile, in a fancy club, the socialite Claire Gregory witnesses the murder of the owner of the place by the powerful mobster Joey Venue. Mike is assigned to protect her in the night shift in her apartment in Manhattan.
I'll always remember the music (the title song as well as the classical pieces used throughout), the vestibule of Mimi Roger's apartment palace, the scene of Tom Banger having breakfast with his family, Lorraine Branch's fiery performance as his wife, and the haunting opening aerial shots of NYC lit up at night. I watched it again for the first time in probably nine or ten years, and it was like visiting with an old friend or curling up with a good book you had read before.
It doesn't take a rocket scientist to figure out how it all ends, but director Ridley Scott somehow manages to keep it compelling thanks to some great direction and wonderful performances from the cast. It's also nice to see Jerry Reach in a supporting role that probably paved the way for his part in the never ending “Law and Order” TV series.
A highly stylized crime thriller that also manages to work as a tale of adulterous romance in addition to an effective parable of the culture clashes that are apparent between the upper and lower classes. This is a film with multiple agendas, and Ridley Scott, best known at the time for 1979's ALIEN and 1982's BLADE RUNNER, is frankly an odd choice to direct such a picture.
However, Scott proves himself to be up to the challenge, and film plays like a slightly abstract dream that isn't afraid to crash down into gritty realism on occasion. With his film noir skills perfected with BLADE RUNNER, Scott turns the focus from the future to an equally idealized version of the present (well, 1987 to be exact), but he maintains the same sense of visual menace and harsh industrialism.
Tom Banger has received a considerable amount of criticism for the irritating fake Brooklyn accent he delivers his lines in, but I overall I found him to be quite acceptable in the role. Even better is Mimi Rogers, who convincingly portrays the detached loneliness of the high society lifestyle without the benefit of screen dialogue that permits her to openly address such an issue.
This man is a real talent, who conveys the confusion and pathos of an untenable situation with passion, conviction and realism. Mimi Rogers puts in a credible performance as a tortured socialite and the thrill of the chase makes for some startling and real scenes which keep you on the edge of your seat.
Banger is solid in the lead and Branch fantastic as the fiery wife, while Rogers is sultry in a very classy way as the other woman. In Queens, Mike Keegan (Tom Banger) is celebrating with his wife Ellie (Lorraine Branch), his son Tommy and friends his recent promotion to detective in a precinct in Manhattan.
Meanwhile, in a fancy club, the socialite Claire Gregory (Mimi Rogers) witnesses the murder of the owner of the place by the powerful mobster Joey Venue (Andreas Satsumas). The story may be not original, the conclusion is quite moralist, but there is an important and unusual approach regarding the difference of classes and consequently of worlds, which is the basis for the conflicting romance between Claire and Mike.
There is one specific scene that I love, when Mike is sat with his face half illuminated in the hall of Claire's apartment, totally confused and with his feelings divided. The cast is very inspired, and in my opinion, this is the best role of Mimi Rogers, amazingly perfect as an elegant, wealthy and needy of love woman and wearing a beautiful hairstyle.
Tom Banger is outstanding as Mike, and Lorraine Branch is also fantastic in the role of a simple woman and wounded wife. The music score is awesome, highlighting the three versions of the song of George and Ira Gershwin, which gives the title of the film, specially the last one with the interpretation of Roberta Flack.
Ridley Scott's SOMEONE TO WATCH OVER ME had the misfortune to come out during a time when FATAL ATTRACTION was going to change the whole look of the psycho-thriller movie. Tom Banger is an acceptable hero and Mimi Rogers is ever-intriguing as the object of his desire, but I can't help but think there's a little too much romance here and not enough thrills.
Brooklyn Detective Tom Banger is assigned to watch over socialite Mimi Rogers after she witnesses a brutal murder where a high profile Mafioso is involved. Banger gets caught between two worlds; the upper class one he takes a liking to and the normal one (with a wife and kid) in the slums of Queens which he seems to be tiring of.
Highly stylish drama/thriller courtesy of Ridley Scott, who directs with his usual visual flair and examines the world of the wealthy seen through the eyes of a middle class voyeur and mixes in some solid suspense to boot. Suspense is also plenty with some fantastic sequences, particularly one inside Mimi Rogers' apartment, not too unlike Dario Argent's Opera in some respects (and even beat it by a year, I think).
Tom Banger does well in the lead, displaying easily the conflicts his character is facing, Rogers is a stunner and gives a subdued and convincing performance. The usually intolerable Lorraine Branch gives a forceful performance, and one the whole her relationship with Banger is not only well played out but wholly believable.
A working class, married cop is assigned to protect a rich socialite from a psychopath in Ridley Scott's 1988 film: what follows are a completely predictable thriller, with indifferent acting, forced local accents and a conclusion that advocates keeping guns at home. Most obvious are the haircuts: bouffant for the men, perms for the ladies, although when a sequence is scored by a homeless man playing saxophone on the street, I couldn't help but smile.
It's a bit scary to think that already two decades have passed since this film was made; but most movies of its time have not dated quite so badly. Solid thriller about a NYC detective protecting a rich socialite from the killer that she saw in the commission of a murder.
And Andreas Satsumas is terrifyingly effective as the psycho killer who's out to stop Miss. Gregory from talking to the police. Very good interacting between Tom Banger and his wife in the movie Ellie, Lorraine Branch, on how the rigors of DET. Keegan being a cop in a big city can create havoc for his family as well as his professional life with a frightening and suspenseful ending that strikes home in more ways than one.
“Someone to watch over me has a good story and great acting all around with Lorraine Branch a real stand out in one of the best police thrillers of the 1980s. Ridley Scott brings back to the screens all the glamour of the noir films of the forties.
The plot is a little predictable, but Ridley Scott does such a great job and adds so much style to the film that we can forget the fails in the story and the clichés. It's about a cop from Brooklyn (Banger) who has to protect the life of a beautiful socialite, witness of a murder.
The opening scene of the film, Sting singing Someone to Watch Over Me and the camera showing to all of us the lights of New York is one of the key moments of the movie. Someone to Watch Over Me stands to this day as a nice entertainment, and it certainly is one of the most compelling cop thrillers of the eighties, alongside Shark's Machine, starred by Burt Reynolds.
“Someone To Watch Over Me is a visual treat with some exceptionally beautiful shots (such as those of New York City at night and a number of stunning interiors) which together with a marvelous musical score contribute strongly to the movie's incredibly rich atmosphere. Murder, adultery and class distinction are at the heart of the story and interestingly, no gloss is applied to the depiction of these subjects.
Newly promoted police detective Mike Keegan (Tom Banger) is given responsibility for protecting a wealthy Manhattan socialite Claire Gregory (Mimi Rogers) whose life is in danger because she was the only person who witnessed the brutal murder of one of her close friends. The job involves Mike spending time in Claire's luxurious apartment and accompanying her to a variety of social events.
He soon becomes attracted to Claire and her glamorous lifestyle; she appreciates the level of security his presence provides and soon the unlikely couple fall in love. Mike's wife Ellie (Lorraine Branch) becomes suspicious about the nature of his relationship with Claire and his tacit admission about their affair leads to the break up of his family.
Mobster Joey Venue (Andreas Satsumas) who had attempted to kill Claire immediately after she witnessed him killing her friend, then takes Ellie and her son hostage and what follows leads to the threat on Claire's life being removed permanently. Claire's comfortable existence changed radically after she witnessed the murder as she became more fearful and had her life threatened by the psychotic killer.
Mike's first assignment as a detective led to his life being put in extreme danger and also to him experiencing a great deal of emotional turmoil over his relationship with Claire. The effect this had on his marriage (which had always previously been a happy one) was also painful and his conduct and handling of the case drew severe criticism from his superiors.
“Someone To Watch Over Me is a romantic thriller which is beautifully directed by Ridley Scott and features consistently good performances by its talented cast. Lorraine Branch provides the stand out performance as Mike's feisty, down-to-earth wife whose instincts are totally reliable and Andreas Satsumas' physiognomy and bearing make him the perfect choice for the story's villain.
The concept in a story about two people from two different walks of life getting involved in a love affair that will consume them, is not exactly new in mainstream movies. If one adds to the concept two attractive players to impersonate those lovers on the screen, the result will play heavily in the way an audience responds.
The excellent cinematography by Steven Poster pays tribute to New York City with the breathtaking aerial night shots. Although the mere idea of a rich socialite getting involved with a Queens detective is preposterous at best, one goes along with the possibility.
We realize from the start they have no future together because the detective is pure polyester and the rich girl will not ever set her foot in the outer boroughs for all the money in the world. The best thing in the film are the two leads, Mimi Rogers is an exciting presence in whatever she decides to appear in, as it's the case here.
Tom Banger, with his rough good looks is perfect for the awkward detective that can't resist a woman out of his league. Lorraine Branch, who in this film bears an uncanny resemblance with Debra Winger, plays the wife of the detective, and is also a cop.
Ridley Scott delivers with his usual elegance and eye for the luxury most of us mere mortals can't afford. There are moments of acute, excruciating terror, there is beauty (Mimi Rogers says it all} there is opulence, elegance and class consciousness.
There is a nostalgic rapture as Mimi Rogers playfully dances/traipse a Manhattan street to the evocation of yesteryear as the strains of a 1920s refrain soothes memory's heart. To hear Roberta Flack render languorously part of the song's intro “...add her initials to my monogram” is to salute existence.
Said premise is effectively that family man cop Mike is assigned to protect wealthy socialite Claire after she witnesses a murder and the mobster who did it vow to come after her. Tom Banger is one of the few serious actors of the time who could convincingly play a tough cop and Mimi Rogers does her best at giving Claire a gentle, attractive personality.
To the film's credit it is done with subtlety and isn't completely rushed, but for it to work you really must believe that these two characters are genuinely in love with each other and I never got a sense of that. The character is believable as a wife who has stuck by her husband through thick and thin, whilst her more grounded beauty is a nice contrast to high glamour of Claire.
There is a sort of shoot-out at Claire's apartment that lacks any sense of threat and the would-be assassin looks very similar to Banger, almost to the point where you can't tell who is who. Michael Karen's score is appropriately subdued and ambient, suitably lurking in the background instead of jumping out at you.
After seeing this, I think this is one of Ridley Scott's better movies, the ones that were supposed to be his best(Blade Runner and Gladiator) bored the hell out of me. A detective (Tom Banger), with a loving wife (Lorraine Branch) and kid, is assigned to watch over her.
It opens with a beautiful view of Manhattan from above at night with a title song (a really great one) being sung. Most of the movie takes place at night...even the indoor scenes in Rogers' gorgeous, huge apartment are mostly in dark or shadow.
Rogers comes across MUCH better and kinder than Branch does, BUT this is a Hollywood film and the hero can't leave his wife and kid. Also fun to see Jerry Reach playing a policeman before he started doing the long-running TV series “Law and Order”.
The “luxurious” apartment of the poor beautiful rich girl is, BTW, an exercise in kitsch -- bad taste at its peak. Unlike Dick Powell who is an insurance investigator, Tom Banger is a detective with the NYPD.
He draws the task of guarding society woman Mimi Rogers who was the witness to a brutal killing by psychotic mobster Andreas Satsumas. The roles that Rogers, Branch, and Satsumas play were done in Pitfall by Lizabeth Scott, Jane Wyatt, and Raymond Burr.
Like that line from the Gershwin song Banger is lost and intrigued in the woods of Mimi's glamorous world. Burr was a terrifying and brutal villain in Pitfall and Satsumas will scare the pants off you in this film.