Saw it before. Must have had the VHS at one time. Catching it now on Amazon Prime Video. It’s Sliver, staring that very hot (then) Sharon Stone. This came out in 1993, about the time Stone was still sizzling from Basic Instinct, to be reviewed later. It’s from Paramount Pictures. Details are from Wikipedia.
It’s based on the book of the same name by Ira Levin, and I’m guessing the title comes from the apartment building that’s central to the plot. It’s a sliver of concrete, steel, and glass that shoots up in a tony neighborhood in Manhattan. It’s a thriller, with emphasis on eroticism and suspense. Lots of people die.
Opening scenes show a striking blond woman, Naomi Singer played by Allison Mackie, entering the building and taking the elevator to her apartment on the 20th floor. Closed circuit television (CCTV) follows her every move. She goes immediately to her balcony, overlooking the city, and takes in the view. Another person, not identified, enters her apartment using a key. He comes up behind her and caresses her. She responds at first. Then she is suddenly and violently thrown over the railing to her death. Thus begins the drama.
The next tenant of number 20B is Carly Norris (Stone), book editor for a New York publisher. She bears a resemblance to the late Ms. Singer.
Carly is newly divorced, having shucked off a seven-year, miserable marriage. She soon meets a number of other residents of the building, some of whom are about to die. One is Gus Hale (Keene Curtis), who first notices Carly’s strong resemblance to the former tenant. He aims to tell her some things he knows before he goes off to Japan for an extended stay. Later we observe his body in the shower, as seen on CCTV. Coverage throughout the building seems to be unlimited.
Unlimited includes Carly’s bathroom. Somebody watches her bathe erotically.
Nothing and nobody are missed. CCTV seems to cover every inch of the sliver building.
One of the downsides of Carly’s promising career is a morass of pressure exerted on her by people in power. She advertises herself as fiercely independent, a person who likes to be in control. Her boss, Alex Parsons (Martin Landau) wants her to review a book by Jack Landsford (Tom Berenger). She does not like Jack’s books, and she does not want to review his book. Alex wants Carly to work with Jack. Jack lives in the sliver building. He has already noticed Carly moving into the building. He is brash and pushy, just the kind of person Carly does not like.
Carly throws a party, and Jack crashes the party, uninvited. Another tenant is Zeke Hawkins (William Baldwin), who also attends. Somebody has gifted Carly with a telescope, already set up on the balcony. Party goers take turns exercising some erotic voyeurism through the telescope. It remains a mystery how the telescope got delivered and installed.
It turns out Zeke was the donor. It also turns out he owns the building. Both Jack and Zeke put the move on Carly, but Zeke has more oil (as in oily), and his rude sexual overtures are successful. There is much steamy sex, as much as can be allowed without garnering an R (X?) rating. Here Zeke has left Carly the gift of sexy bra and panties. At dinner in a swanky restaurant he demands she demonstrate she is wearing them. That she does, to the alarm of an elderly couple sitting nearby. She has to demonstrate the panties by removing them and passing them over to Zeke.
But Zeke has wired his entire building so he can spy on everybody and everything. He invites Carly to participate. She is spellbound and cannot look away. Tragedy and depravity are played out in front of them. Zeke, from time to time, interferes with these dramas, in one case levying an anonymous threat against a child molester, forcing the creep to mend his ways. But there is no doubt who is creepier.
Carly’s friend Vida Warren (Polly Walker) has something to tell Carly about the late Naomi, but she doesn’t. She is shortly murdered in the stairwell, and Carly hears the commotion and spots Jack standing over the body. Jack is arrested, but released on bond. There is a confrontation. Jack has a gun. Jack accuses Zeke of setting him up to take the fall for Vida’s murder and wants Zeke to confess. Carly and Jack wrestle for the gun, and Jack is killed. Police stop looking for the root of the sliver building murders.
But Carly’s suspicions grow. She sends Zeke out on an errand and uses the interval to search for video tapes. She finds the one showing Naomi’s murder, a tape Zeke said did not exist. She also finds Zeke’s gun, and when Zeke returns early and sees she has the tape, Carly holds him off with the gun, from time to time shooting out one of the myriad TV screens. In a glimpse she catches the identity of Naomi’s murderer. It is not Zeke. He empties the pistol into various TV screens and leaves.
And that’s the end of the movie.
My first impression was that for a woman as Carly purports herself to be, having the need to be in charge, she allows Zeke to run all over her. I would consider Zeke’s sexual approach to be crude and doomed to failure had I not witnessed the same method work (not for me) on a number of occasions.
People, a hidden TV camera in every bathroom? Is there any reason the tenants have not already sued Zeke’s socks off and taken possession of the building for themselves? There is ample evidence that unauthorized entrance is being made to Carly’s and other apartments, and nobody calls the police to investigate, much less a lawyer.
Reality is not what this movie is about. Watch it for yourself, but beware your glasses are going to steam up.