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The film is really outstanding. The quality of the bluray is perfect. Among the extra section are several deleted scenes which I had never seen before. Interesting for german customers since one of the audio tracks is german.
Llevaba tiempo buscando esta película de Scorsese y por fin la han re editado. Una de las grandes comedias absurdamente extrañas de la historia del cine. Scorsese decía que era una metáfora de Jesús en tiempos modernos. El único "cuerdo" en un mundo que se ha vuelto loco: el protagonista. O tal vez su director quiso reflejar así la sociedad norteamericana. El pan travelling del final bajo los sones de la sinfonía nº 45 de Mozat resulta impagable.
Este es el último trabajo de Martin Scorsese que no tiene un lanzamiento oficial, lo que hace que esta edición sea un salvavidas. Es la historia de un humilde procesador de textos que quiere una buena noche en la ciudad, tal vez buscar a una mujer y disfrutar de un descanso de su aburrida existencia. Los acontecimientos de la noche se resumen en este maravilloso monólogo de la película: "Conocí a esta chica esta noche en una cafetería. Me dio su número de teléfono. Así que cuando llegué a casa, la llamé. Me dijo que viniera. En el taxi, todo mi dinero se fue por la ventana. Luego Llegué a conocer a esta chica y no me llevé muy bien con ella. No tengo suficiente dinero para llegar a casa hasta que conozca a este camarero, un tipo realmente agradable que realmente quería prestarme el dinero, pero su novia está realmente enojada conmigo por la forma en que traté a su amiga, así que entro allí. disculparse, pero ya se había suicidado. Llegué demasiado tarde. Afortunadamente, estaba esta chica, que lo vio todo, ¡ahora ella es la que está en el camión de helados "Mister Softee" que está tratando de matarme! Todos intentan matarme. Solo quería irme de mi apartamento, tal vez conocer a una chica agradable, ¿y ahora tengo que morir por eso? "
¿Seguir leyendo? ¡Es incluso más extraño que eso! Es la más negra de las comedias, una parodia del tema del "hombre inocente" de Hitchcock, donde los eventos se salen de control, todos en torno al hombre más ansioso del planeta y su creciente paranoia, creando una de las películas más idiosincrásicas de Scorsese. Si te preguntas si el monólogo anterior revela demasiado, no te preocupes: también estaba en el tráiler, y ni siquiera rasca la superficie de las risas y rarezas que se encuentran en esta joya olvidada de los años 80.
La película supuestamente iba a ser lanzada en blu-ray en Italia no hace mucho tiempo, el lanzamiento se desechó sin explicación a la hora 11. Cualquiera sea la razón de su elusividad, la edición revisada aquí es un excelente sustituto. La película se hizo justo a mediados de los 80, cuando se usaba mucho material de película más barato para reducir los costos cuando disminuía la asistencia al cine, con el resultado de que el celuloide de la época era granulado, oscuro y casi mugriento. La fuente utilizada para esta transferencia parece provenir de un master HD creado para la transmisión de televisión, y eso no es malo: es mejor que ese DVD y refleja la calidad bastante turbia que siempre tuvo. El sonido (solo lo he escuchado en inglés, pero como los otros idiomas están tomados de fuentes oficiales de DVD, debería estar bien) es tan agradable como la imagen. Todos los extras están extraídos del DVD. haciendo de este un paquete muy bueno para una película aparentemente perdida en el mundo HD.
Regálate una porción de la soberbia rareza de los 80, con Griffin Dunne en plena forma como el hombre que solo quiere una noche tranquila, pero el destino decidió lo contrario. Un excelente lanzamiento de una película singularmente entretenida.
El Español no es mi primer idioma, ¡así que sé amable!
In the mid 80's Scorsese was in a dark place. Filming of The King of Comedy turned into a marathon, and he was starting to lose the joy of making films he knew from his days as a student filmmaker. Couple that with the fact that his passion project, The Last Temptation of Christ, was imploding under the weight of budget and time constraints until it was finally cancelled. Scorsese fell into depression and began pondering the possible end to his career, while searching for a project to re-find his love of crafting film.
In After Hours he found a project that he felt he could channel his depression into, and could possibly serve to help restore his former joy of filmmaking. After Hours was being developed as a Tim Burton vehicle at the time (he was hired based on the strength of his short film Vincent). After hearing that the script was initially sent to Scorsese, and that he was now interested in directing, Burton respectfully declined the director's chair not wanting to get in the way of Scorsese. Going into the film, Scorsese felt that if he could not finish this film properly he would never make another film again.
Paul Hackett (Griffin Dunne) is nothing more than an average word processor. One night after work he runs into a woman named Marcy (Rosanna Arquette) who invites him to her friend's place in Soho for a date. After spending some time with her, though, he realizes that she's a bit more than he can take so he makes a run for it when she's in the room. Unfortunately (or fortunately for us) he finds himself on the streets of Soho with no money and things quickly spiral further out of control as he contends with eccentric locals, mobs mistaking him for a burglar, and a suicide he may have caused.
Scorsese isn't known as a director of comedy, but here he proves that he has a special flourish for it. As most of his films will attest to, Scorsese feels most at home when in his native New York. Here he borrows liberally from Hitchcock ramping up the tension and suspense throughout the film. Just watching the manic energy of the film you can tell that Scorsese was reinvigorated by the opportunity to make a film that steps away from his usual film type.
The casting doesn't skimp on a cast that can easily bring the funny. Included in the cast are Christopher Guest regular Catherine O'Hara as well as Cheech Marin and Tommy Chong. While this is a comedy, the comedy is treated with a wry wit. Every situation is treated as a serious life or death situation rather than posting huge signs pointing out where the comedy is supposed to be like you see in a lot of modern comedy. At one point Paul witnesses a wife murder her husband and mutters to himself, completely deadpan, "I'm probably going to get blamed for that."
The real key to making this work, though, is Griffin Dunne. Employing some method acting to improve his reactions, Dunne gives a brilliant performance. He draws the viewer into his performance, making you feel for him while you also simultaneously laugh at his expense. At one point to capture the right reaction walking into an empty club, he walked a couple blocks to a bar, ordered a drink for everyone at the bar, and ran out when the bartender asked for the money. He ran the entire two blocks to the set and Scorsese started the cameras the moment he stepped on the set. (For full disclosure, Dunne did go back and pay the bar.)
In the end, After Hours was critically acclaimed, Scorsese won the Best Director award at Cannes, it doubled its budget in box office revenue, and in 1988 he was finally able to make and release The Last Temptation of Christ. This is one of Scorsese's lesser known films, achieving more of a cult status, but that doesn't mean it's one of his worst films. I highly recommend that you give this a try if you haven't seen it already. It's a fun romp through the city, with a touch of danger and suspense that easily ranks up with the best of Scorsese's canon.
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I remember seeing this movie back in late 1985 when I was living in Florida. There were perhaps 10-12 people in the audience. I laughed until I couldn't breathe - there is such great use of irony in this film. I went back a few days later to see it again, and took a friend who also would appreciate this movie - we were the only two in the theatre. We laughed until we were oxygen-deprived.
Fast forward to late 80's /early 90's when I was lucky enough to find this movie on VHS - I turned SO many people on to this movie, it was unbelievable. By this time however, the movie was no longer available.
This cult-like film was directed [flawlessly] by Martin Scorsese. Basically, a working stiff by the name of Paul Hackett [Griffin Dunne in a role not many could have pulled off] leads a boring life of just working and going home. While reading a dog-eared copy of a Henry Miller novel in an all night diner, he is coaxed into a conversation by a strange girl [Roseanne Arquette in another role not many could have pulled off]. She winds up giving him her number, which he goes home and calls immediately, and she says 'Maybe you should come over now'. Being what amounts to the only social invitation on this man's calendar, he goes over that night to her loft in Soho.
So starts the worst evening of his life. I won't go into detail, but basically EVERYTHING goes wrong, from the cab ride over there, on to the end of the movie. Every interaction with the citizens in SoHo is hysterical, from this girls roommate, to her roommates boyfriend, to a bartender, to a freaky punk club, to a wacky waitress [another incredible character played by Teri Garr], two thieves [Cheech & Chong]. The journey of this one single night of an attempted date becomes so surreal, you can do nothing more than groan and laugh. It is a very dark comedy, but a comedy nonetheless. Look for Martin Scorsese's little cameo as the spotlight holder in the scene taking place in the nightclub "Berlin". Griffin Dunne was just incredible in this movie, as were Roseanne Arquette and Teri Garr. Also deserving credit was Linda Fiorentino as Roseanne Arquette's roommate in the loft. Sometimes the dialogue is so low, you really have to concentrate, but that makes a lot of it that much more out there and funny.
I love this movie to death and it is a valued part of my DVD library. This is one of those movies you will be turning friends onto again and again and recruiting new 'fans' every time you show it to someone who appreciates this genre and has not seen it.
Martin Scorsese is a master at bringing my birthplace of New York City to life, and After Hours is no exception. Not as gritty as his other works like Taxi Driver and Gangs of New York, but more oddball. Weird scenes, bizarre characters, and great editing. The film involves a day in the life of a mild mannered guy (Griffin Dunne), who decides to take a chance and pursue a girl he meets at a coffee shop. Well, let's just say that by the end of the night his whole universe has been rattled.
This is one of Martin Scorsese's underrated and underappreciated movies, about Paul, a quiet computer programmer who goes out on a date with a girl he meets in a coffee shop, only for the date to turn into an endless night of lunacy. As he is forced to wander the streets, Paul witnesses the different lives of the residents of New York - a bizarre artist, a neuroic Monkees fan, a couple of thieves, and an irritating ice cream-van owner being a handful of the characters. He is an outsider peering in, much like when he sees a couple making love through a window, and witnesses a murder through another. Paul becomes strangled by the city - everywhere he turns he runs into trouble. The script is piled up with quirky confrontations, conversations, and bizarre events. The script works well, with all the events interconnecting perfectly. It is also very witty, with numerous lines of dialogue resulting in a smirk, or laughter. Martin Scorsese's direction is brilliant - he sets up the suffocating tension, the comedy, and craziness with perfect stride. This is one of his - or perhaps his - most surreal movies; the first thirty minutes leaving the viewer unsure, yet in perfectly good hands. We're watching a man trapped, a man stuck in a city with a pulse - much like Travis Bickle in 'Taxi Driver'. With it's lesser known status, this will prove to be more of a gem than a classic - as it's a pleasently surprising movie, compelling and highly watchable.
Right after the high budget debacle of the wonderfully ridiculous The King of Comedy, and the mainstream comeback of the overrated The Color Of Money, Scorsese directed his little underrated gem of movie. Set in the mid 80s, After Hours is about an IT expert who meets supposedly meets the most interesting and most beautiful woman he can ever hope to meet. Getting her phone number, he doesn't think twice about calling her up and setting up a date. Getting a taxi ride to the girls appartment, his last twenty dollar bill gets blown away by the speeding taxi and that's when his night of amore becomes a night of living hell.
What should have been Tim Burton's feature film directorial debut, After Hours is Scorsese going back to his roots via a modernised, fresh and comedic route. Taking a break from the norm, Scorsese directs one of the most bleakest comedies of the 1980s and what, on the surface, looks like a typical mid 80s anti-yuppie comedy film becomes a night time odyssey of cynicism that is backed up by a superb ensemble cast and a witty script that is very scarce these days. However what I find the film certainly delivering is energy, the film is an energetic collage of edited images that never let up, and clocking in at just 97 minutes long, the film starts off with a camera panning quickly to focus on our protagonist. Also not to be missed are the homages to other directors, in this case After Hours has subtle homages from Alfred Hitchcock to Roman Polanski (blondes creating trouble, misuderstanding etc., to the rondo narrative format that Polanski is a fan of and is effectivly used in this film)
Raging Bull was released in December 1980, and no Scorsese film after can match the brilliance and power of his magnum opus. But the film is more of a film of the 70s, whilst After Hours is a very much an 80s film, and its because of this I would go far and say that After Hours is Scorsese's best film of the decade. In The King Of Comedy, Scorsese looked at the culture of celebrity, here he looks about urban loneliness, alienation and how listening to your fellow man might make life just a bit more easier. Both films were relevant back in 1984 and 85 respectively, and are probably more relevent today than ever before.