 |
Night on Earth by Jim Jarmusch
Buy this DVD movie at online store in your country
Canada
DVD Cover InformationActor: Alan Randolph Scott, Anthony Portillo, Gena Rowlands, Lisanne Falk, Winona Ryder Director: Jim Jarmusch Producer: Jim Jarmusch Writer: Jim Jarmusch Producer: Demetra J. MacBride Producer: Jim Stark Producer: Masahiro Inbe Producer: Noboru Takayama Producer: Rudd Simmons DVD: Region Code 2 Audio: German (Subtitled); English (Original Language), Dolby Digital 2.0 Surround; Finnish (Original Language); French (Original Language); German (Original Language); Italian (Original Language) Format: PAL Picture Format: 1.77:1 Running Time: 129 minutes Audience Rating: R (Restricted)
Movie Reviews of Night on EarthMovie Review: Jarmusch's masterpiece and one of the top twenty American films of the Nineties! Summary: 5 Stars
"Night on earth" may be seen as a earthly anecdote - taking into account it's a comedy , at a fist glance - but, since we refer to Jim Jarmusch, the most emblematic and irreverent American filmmaker by then, some additional reflections should be made.
L.A. , N.Y.C., Paris, Rome and Helsinki. Five well different stories, surrounded by a same circumstance, casual encounters between cab driver and passenger.
As you se, an innovative proposal that preceded by years to the multidimensional stages in which movies like Crash and Babel were elaborated under similar patterns.
Everyone of these exhilarating dialogues are very absorbing and magnificently written. Since the surrealistic episode in Rome (in which Jarmusch pays a heartfelt tribute to Luis Bunuel) until the overwhelming conversation in N.Y.C.
To my view, this is until this date the most complete and ambitious project of the smart filmmaker. Supported by a splendid cast and edition process.
Summary of Night on EarthJim Jarmusch's 1991 ensemble comedy turns a gimmick into a revelation. The story begins in Los Angeles one evening at 7:07 p.m. A talent agent (Gena Rowlands) gets into the back of a taxi driven by a sullen, chain-smoking young woman (Winona Ryder), and over the course of their bumpy conversation, Rowlands's character becomes convinced that the cabby would be perfect for a particular part in a movie. Meanwhile, at that very moment, taxi drivers in New York, Paris, Rome, and Helsinki are all having unique encounters with a variety of fares, breaking through that invisible social barrier between the front and back seats of their cars, often to absurd or touching effect. Among them are cabby Roberto Benigni's ranting confessions to a priest, Armin Mueller-Stahl's relinquishing of the wheel to a stunned Giancarlo Esposito, and Isaach De Bankolé's relentless discussion of sight and sex with an angry, blind woman (Beatrice Dalle). What emerges is a chain of brief intimacies (not always welcomed by the characters), like a number of matches lit simultaneously across the globe, flickering brightly for a few short moments. This popular work by Jarmusch helped confirm his reputation as a fiercely independent filmmaker of rare perception, rigor, and classical sensibility matched with original thinking. --Tom Keogh
|
 |
|
|
|