Robert Somol u svom izvrsnom tekstu "Notes around the Doppler Effect and other Moods of Modernism", govoreći o kritičkom i projektivnom pristupu u recentnoj teoriji arhitekture, koristi kao ilustraciju tih metoda uloge Roberta Mitchuma u originalnoj verziji filma "Rt straha" i De Nira u njegovom remakeu.
Zanimljivo je kako je karakter iste osobe, psihopatskog ubojice željnog osvete, odglumljen vrlo različito u verzijama Mitchuma i De Nira, a opet vrhunski uspješno. Mitchum glumi - igra sebe kakav bi bio da je psihopatski ubojica (u ovome slučaju ili pak šerif u nekom drugom). De Niro ne glumi, on postaje to što glumi (psihopatski ubojica, taksist ili pak mafijaš). Hickey, na kojeg se u tekstu Somol poziva, kaže za Mitchuma da glumi kao što Coltrane svira jazz standard, unoseći sebe ili otkrivajući sebe kroz "zadani tekst", dok je De Niro u svojoj glumi - method acting, narativan, doslovan, za potrebe filma se u stanju udebljati ili smršaviti po desetak kila, vozi taksi New Yorkom, boksa. Svaki od ta dva, gotovo komplementarna pristupa uspješna su toliko koliko su glumci dosljedni, odani metodi ili mjeri kojom pronalaze sebe u pojedinoj metodi. Scorsese u svom remakeu "Rta straha" umeće post-moderni "štos" u kojem Michum (Max Cady iz prve verzije filma iz 1962.), glumeći sporednu ulogu detektiva, kaže De Niru (Max Cadyju iz nove verzije, koji je sav istetoviran biblijskim uzrečicama) :"I don't know whether I have to look at him or to read him". Majstor poput Scorsesea to ne radi slučajno; to mu služi kao tipična post-moderna distanca od fikcije filma samim filmom u kojoj izravno suprotstavlja, s određenom autoironijom, novog i starog Roberta, odnosno Maxa.
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Robert Somol, in his excellent text Notes around the Doppler Effect and other Moods of Modernism, talks about the critical and projective approach in the recent theory of architecture and as examples he uses two methods, the role of Robert Mitchum, in the original version of the movie Cape Fear and Robert De Niro in the remake of the same film. It is interesting how the character of the same person, a psycho killer wishing to take revenge, is played very differently, yet superbly, in the acting of Mitchum and De Niro. Mitchum acts - he plays himself as he would be if he were a psycho killer (in this case, or a sheriff in some other case). De Niro is not acting; he becomes who he acts (a psycho killer, taxi driver or mafia guy). Hickey, to whom Somol refers in the text, says that Mitchum acts just as Coltrane plays a jazz standard, bringing himself or disclosing himself through the "set text", while De Niro in his acting - method acting, is narrative, literal, gains or loses ten or twenty pounds for the needs of the movie, drives a taxi around New York, boxes. The success of each of these two, almost complementary approaches depends on the consistency of the actors, their devotion to the method or possibly on how much of themselves they find in each of the methods. In his remake of Cape Fear, Scorsese inserted a post-modernist "gag" in which Mitchum (Max Cady in the first version of the film in 1962), acting in the supporting role of a detective, says to De Niro (Max Cady in the new version of the movie, all tattooed in biblical verses): "I don't know whether I have to look at him or to read him." A master like Scorsese is not doing this by accident but to create a typical postmodern distance from the fiction of the film via the film itself, by bringing together or rather by directly opposing, with a certain self-irony, the new and the old Robert, that is to say Max.
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