Naked", 1993/ "After Hours" 1988
*Originally posted by Vince*
I already know no one will watch "Koko: A Talking Gorilla" so I tried
to think of a film that someone would actually watch. I recommend 2
films, both of which take place deep into the night & add a certain
grimyness to the proceedings. 1) Naked (1993) by Mike Leigh & 2) After
Hours (1985) by Martin Scorsese.
Both of them are episodic. Both could seem to lack a meaning while
watching (or after for that matter). Both deal with sad lonely people.
Out of the two, NAKED is the one that will make you feel shitty
afterward. I will quote the All Movie Guide as I can't write anything
better:
"Both hailed and criticized for its bleakness and its basically brutal
treatment of women, Naked is an intensely powerful and disturbing
motion picture experience. Director Mike Leigh is making a
pull-no-punches statement about late 20th century Britain,
specifically about the manner in which social systems enable (and
allegedly encourage) the strong to abuse the weak. This includes
Johnny, a down-and-out drifter with a keen intellect and razor-sharp
wit. Victimized by this system, he in turn takes his anger out on
those weaker than he, generally women and specifically those who
express feelings of warmth or concern toward him. The brutality with
which Johnny (and others) treat many of the women in the film is
difficult to take; indeed, much of the film is challenging to watch,
as there is a rawness and hopelessness that permeates the film. This
is leavened by a great deal of humor, as Johnny's brilliant mind can
always come up with surprising and amusing comments; but even the
humor is of a black or mean bent. Many will be turned off by all of
this, but many will also find it exhilarating, thanks to David
Thewlis's brilliant acting and Leigh's assured and masterly handling
of the material. Thewlis gives one of the most impressive screen
performances of the 1990s; his Johnny may be mean, bitter, and almost
unbearably angry, but he can also be charming, witty, and even at
times sympathetic. Thewlis conveys the quiet desperation that lies
beneath the character's unpleasant characteristics, and makes the
viewer feel for him, even as he feels repulsed. It is a fascinating
portrait. Naked is often horrible to watch, but those who can do so
without looking away will be amply rewarded."
After Hours is lighter but still has a mesmorizing effect. Definitely
an underrated Scorcese movie. It's also very 80's if you're on an 80's
movie kick. Again, All Movie Guide:
"Paul is trying to get into Marcy's apartment. She tosses her keys
down to him. Scorsese gives the audience the shot from the keys' point
of view. They hurtle ominously towards Paul. This is a quick but
quintessential moment in After Hours, a film that has the feel of a
nightmare where nothing goes right and trouble can suddenly occur out
of nowhere. Although lots of strange things happen to Paul over the
course of his night in SoHo (he's hunted by a vigilante mob, nearly
has his head shaved, and gets encased in plaster of paris to name just
three), the sequences are directed with a certain amount of reality.
Viewers are given the sense that the events in this film, however
improbable, are possible. Griffin Dunne does a fine job with the
tricky role of Paul. His character, after making the decision to go to
Marcy's apartment, is almost totally passive. Events happen to him.
While it would be easy to dislike such a put-upon character, Dunne
makes the viewer sympathize with Paul because he always tries to
extricate himself from the situation he is in without harming anyone
else. He is desperate to get away from Teri Garr's beehived waitress,
but the way he submits to her requests will gain the goodwill of the
audience. Desperate to work on any project after Paramount cancelled
The Last Temptation of Christ four days before that film was supposed
to go before the camera, Scorsese quickly became attached to After
Hours. Because Paul is unable to do what he wants and powerless to
change his situation, it is tempting to assume that Scorsese felt a
strong affinity for his protagonist. Armed with numerous stylistic
touches and a noir sensibility, After Hours is a dark comedy that
allowed a fine director to exorcise his career frustrations."
NOW WATCH THEM BASTARDS! (I own both for those of you who live in my
house)
*Originally posted by Vince*
I already know no one will watch "Koko: A Talking Gorilla" so I tried
to think of a film that someone would actually watch. I recommend 2
films, both of which take place deep into the night & add a certain
grimyness to the proceedings. 1) Naked (1993) by Mike Leigh & 2) After
Hours (1985) by Martin Scorsese.
Both of them are episodic. Both could seem to lack a meaning while
watching (or after for that matter). Both deal with sad lonely people.
Out of the two, NAKED is the one that will make you feel shitty
afterward. I will quote the All Movie Guide as I can't write anything
better:
"Both hailed and criticized for its bleakness and its basically brutal
treatment of women, Naked is an intensely powerful and disturbing
motion picture experience. Director Mike Leigh is making a
pull-no-punches statement about late 20th century Britain,
specifically about the manner in which social systems enable (and
allegedly encourage) the strong to abuse the weak. This includes
Johnny, a down-and-out drifter with a keen intellect and razor-sharp
wit. Victimized by this system, he in turn takes his anger out on
those weaker than he, generally women and specifically those who
express feelings of warmth or concern toward him. The brutality with
which Johnny (and others) treat many of the women in the film is
difficult to take; indeed, much of the film is challenging to watch,
as there is a rawness and hopelessness that permeates the film. This
is leavened by a great deal of humor, as Johnny's brilliant mind can
always come up with surprising and amusing comments; but even the
humor is of a black or mean bent. Many will be turned off by all of
this, but many will also find it exhilarating, thanks to David
Thewlis's brilliant acting and Leigh's assured and masterly handling
of the material. Thewlis gives one of the most impressive screen
performances of the 1990s; his Johnny may be mean, bitter, and almost
unbearably angry, but he can also be charming, witty, and even at
times sympathetic. Thewlis conveys the quiet desperation that lies
beneath the character's unpleasant characteristics, and makes the
viewer feel for him, even as he feels repulsed. It is a fascinating
portrait. Naked is often horrible to watch, but those who can do so
without looking away will be amply rewarded."
After Hours is lighter but still has a mesmorizing effect. Definitely
an underrated Scorcese movie. It's also very 80's if you're on an 80's
movie kick. Again, All Movie Guide:
"Paul is trying to get into Marcy's apartment. She tosses her keys
down to him. Scorsese gives the audience the shot from the keys' point
of view. They hurtle ominously towards Paul. This is a quick but
quintessential moment in After Hours, a film that has the feel of a
nightmare where nothing goes right and trouble can suddenly occur out
of nowhere. Although lots of strange things happen to Paul over the
course of his night in SoHo (he's hunted by a vigilante mob, nearly
has his head shaved, and gets encased in plaster of paris to name just
three), the sequences are directed with a certain amount of reality.
Viewers are given the sense that the events in this film, however
improbable, are possible. Griffin Dunne does a fine job with the
tricky role of Paul. His character, after making the decision to go to
Marcy's apartment, is almost totally passive. Events happen to him.
While it would be easy to dislike such a put-upon character, Dunne
makes the viewer sympathize with Paul because he always tries to
extricate himself from the situation he is in without harming anyone
else. He is desperate to get away from Teri Garr's beehived waitress,
but the way he submits to her requests will gain the goodwill of the
audience. Desperate to work on any project after Paramount cancelled
The Last Temptation of Christ four days before that film was supposed
to go before the camera, Scorsese quickly became attached to After
Hours. Because Paul is unable to do what he wants and powerless to
change his situation, it is tempting to assume that Scorsese felt a
strong affinity for his protagonist. Armed with numerous stylistic
touches and a noir sensibility, After Hours is a dark comedy that
allowed a fine director to exorcise his career frustrations."
NOW WATCH THEM BASTARDS! (I own both for those of you who live in my
house)
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