Joe Pesci gives the finest performance of his career, at least outside of a Martin Scorsese film, in this throwback to 1940s crime cinema. He plays Leon "Bernzy" Bernstein, a fictional tabloid photographer inspired by the real-life Weegee (aka Arthur Fellig). Bernzy, who signs his photos "The Great Bernzini," uses a police scanner to beat his competition (and often the police) to crime scenes and he will do anything to get the shot. But on the side, he documents of tragedies and trials of modern urban life with intimate, dynamic, dramatic photos and struggles to be recognized as a serious artist. Barbara Hershey costars as glamorous society widow Kay Levitz who calls upon Bernzy when a hood tries to muscle in, claiming they were partners with her late husband. Bernzy is streetwise and savvy, friendly with both cops and underworld figures (thanks to a reputation for taking dynamic, striking photos of criminals), and he's just a little smitten with Kay, so he asks a few questions and ends up stumbling upon a black market conspiracy, hassled by both the law and lawbreakers, and in the midst of a gang war. It's a smartly written by Howard Franklin, with affection for the characters and for the era, and for all the handsome period detail, World War II references, and elements of criminal spectacle, he keeps focus on the characters and their stories. Pesci underplays both his wise-guy front and his romantic longing, suggesting an emotional depth buried under a hide toughened by the cutthroat world he navigates, but lets his passion show when he talks about his art. He reveals a lonely man who has put everything into his work but still puts his heart on the line for the lovely and sensitive Kay. Hershey's characters aren't given as much dimension but she also offers a guarded figure, someone used to putting on a public persona, and Hershey gives Kay an authenticity that comes out in her scenes with Bernzy. Stanley Tucci costars as a thug with tangled allegiances, Jared Harris has a supporting role as the club doorman, and Jerry Adler is marvelous as a former newspaperman who has hit the big time but when it counts, is there for his pal Bernzy. The score by Mark Isham is sultry and melancholy, reminiscent of Chinatown but with a bruised romanticism. The Public Eye keeps its scope small and rewards with a rich central character, a marvelous story, and a thrilling climax with a bittersweet twist. Features commentary by the film's writer/director Howard Franklin with film historian and filmmaker Daniel Kremer. Previously released on a bare-bones DVD. Recommended. (S. Axmaker)