I thought it was one of the most ingenious and exciting stories of the genre I had read. Whereas horror films and thrillers are designed to put the audience into that box, into that aquarium. By the time of the third film they are in the real world, we see their social interactions and they are much more grounded. The segment in Rome is the least successful, although Roberto Benigni, a favorite of Jarmusch, has fun with his zany monologue as he races through the empty streets before picking up the priest. I've personally kicked drunk idiots out of my cab. Maybe it's because scenes like these usually wouldn't make it into 'mainstream' fare, but a sequence like this showcases some great dialog on both sides and when Rosie Perez comes in, all bets are off. I wondered how much stronger it would have been given that it had focused instead on Los Angeles, New York, San Francisco, Detroit, and New Orleans.
When we meet them the second time they are very scheduled. Rome - A gregarious cabbie picks up an ailing man and virtually talks him to death. Blows the people to smithereens. If I were a poet, would I be criticized for knowing too much about Sappho? At the end, we have learned no great lessons and arrived at no thrilling conclusions, but we have shared the community of the night, when people are unbuttoned and vulnerable - more ready to speak about what's really on their minds. Just when they find themselves powerfully attracted to members of opposite sex, they have to really crack the books.
Have Celine and Jessie changed? The New York segment is the funniest. There are no zingers at the end. We sense they have more in common with one another than with the daytime inhabitants of their cities. And cinema is about showing things that are changing. In a span of about twenty five minutes, there is never a dull moment.
It's as if the minds of these night people are affected by all of the dreams and nightmares that surround them. Ryder and Rowlands cherish every line uttered and allow the silence to settle when necessary so it really feels like we are watching a real taxi ride. Her entire organism is involved. The exploitation films were made in such an artless way with these big wide shots of Sunset Boulevard or of Arcadia or downtown L. Helsinki - an industrial worker gets laid off and he and his compatriots discuss the bleakness and unfairness of love and life and death. Helsinki - an industrial worker gets laid off and he and his compatriots discuss the bleakness and unfairness of love and life and death.
The only distinction between me and you is that I can articulate them. I often refer to this feeling as one yearning for a lost world. . In the cocoon of the cab, the two women trade war stories. It is most unfortunate, however, that its pair of aces is shown early on which results in a highly uneven package.
Louis Malle You must find the note, the correct key, for your story. Jeff Nichols I feel like when you write, you have to have a personal core to a story if you have any hope of it translating to an audience. Werner Herzog What would an ocean be without a monster lurking in the dark? What's so great about this movie is that it tells such different stories with such different characters who all have different pasts and intentions, each accommodating the place of action even visually - in L. The first punchline is Helmut not being able to drive. The episode with the most verve involves a taxi driver from Germany named Helmut Armin Mueller-Stahl and a New Yorker named YoYo Giancarlo Esposito who needs a ride to Brooklyn but no other taxi would stop for him. New York - An immigrant cab driver is continually lost in a city and culture he doesn't understand. It's also a small ruby of a communication fable, of how lives in different cities and countries may be of course different in speech and attitude and dress, but have similar plights to deal with in the dead of night.
I think I had just seen a Scorsese film. Over the course of the ride, it becomes clear to Victoria that the inexperienced actor with the potential to become a superstar is right under her nose. The cinema began with a passionate, physical relationship between celluloid and the artists and craftsmen and technicians who handled it, manipulated it, and came to know it the way a lover comes to know every inch of the body of the beloved. Corky picks up Victoria Gena Rowlands , a casting agent, from the airport after scouting for young women across the country for a role in a Hollywood movie. Alfred Hitchcock Four people are sitting around a table talking about baseball or whatever you like. Our movies are like portraits.
Jim Jarmusch, a director who never neglects to find the time for the little moments, glances, exchanges in dialog, that bring out the better or lesser in people, puts his skills to full force in Night on Earth. Although it is nicely acted by Matti Pellonpää, who plays the driver, the sudden turn toward straight-faced drama feels completely out of place. It's a terrific mix between Benigni's voracious style of fast but not too fast speech, and a sort of silent-film kind of comedy, likely out of Buster Keaton or something. To suppress this is dangerous. This movie gives a very real and comical portrayal of life in this line of work.
In pairs, compare and contrast the following two reviews of Night on Earth. Many questions are not answered. Jarmusch is not interested in making each segment into a short story with an obvious construction. And all of this is accentuated by a carefully controlled mis en scene of driving which is always visually endearing , where right when you're expecting there to be a cut it waits one or two extra seconds. The dry season catches the little elephant family off guard. Particularly in the second segment in New York, where there's the perfect divide between lightness and over-the-top- lightness being in Armin Mueller-Stahl's performance as Helmut German ex-clown turned un-knowing cabbie and Giancarlo Esposito's performance as Yo-yo. Personally, I was never more passionate about manga than when preparing for my college entrance exams.
The In the black of the night, animals never before filmed under these conditions tranquilly go about their daily activities, Lycaon pictus, bat-eared fox, aardvark, owls, porcupines, and desert lynx, strange sometimes disquieting species that usually flee at the first unusual glow. Los Angeles - A talent agent for the movies discovers her cab driver would be perfect to cast, but the cabbie is reluctant to give up her solid cab driver's career. Jarmusch offers a hip, urban, brooding take on a pop culture closed off to feeling. Stanley Kubrick If it can be written, or thought, it can be filmed. The last story, set in Helsinki, the sorrow that tinges the humor in the other tales runs deep. I'd call it the funniest portion of the movie, but in Rome we encounter Roberto Benigni as an always talking, sex-obsessed cabbie. The novel is by no means a serious literary work, but the plot is for the most part extremely well worked out, and for a film that is often all that really matters.