Kopfüber in die Nacht

'Into the Night' stands as one of my favourite films of the '80's. In fact it stands as one of my most favourite films ever. Why? To be quite honest, I'm not sure why. It wasn't the best concept or script, the performances are okay -(with the exception of Goldblum who is outstanding)- and even John Landis' direction was at times on cruise control.

But what it did in 1985, was to reflect so much of what was going on. The ruthless drive for efficiency that makes Okin's aerospace company so demanding, the 'me' approach to relationships that results in Ed's wife's adulterous behaviour, the worship of fortune that dominates Diana's life and drives her so relentlessly - until Ed brings her something a little more worthwhile.

It had the right look, the right feel and the right cast to make you smile and go along with the goodtimes and the in-jokes between peers of the movie establishment. Here was a collection of successful players in Hollywood showing just how slick movie-making could be.

The screenings must have had the feel of a home movie with most of the cast sitting in the theatre enjoying their various cameos. Bowie, Cronenberg, Kasden and of course Landis himself, all doing it for their own.

I loved it when I first saw it and I'll be buying the DVD in Sept '03 when it finally appears. Is 'Into the Night' a great film? Probably not, but it makes me feel great everytime I take that ride to LAX in the little white Fiat...You had to be there.

Ed Orkin is an ordinary guy with insomnia, has a very boring job and finds out his wife is having an affair. Can his jaded life get any better? Well one night, it does take a sharp turn when he rescues a lovely, but mysterious blonde named Diana from some ruthlessly zany thugs at the airport. From this point onwards Ed and Diana are caught up in a cheerfully dashing and murderous chase throughout the night in Los Angeles. Where everyone seems to want a piece of those six emeralds, which Diana has smuggled into the country.

The first time I saw this flick I stumbled across it accidentally when I was on holidays. Instead of going out for the night in the rain I decided to stay in and watch some telly. Well, from the opening scene I was totally captivated by its maniac humour, trigger-happy cameos, kooky situations and that this road movie took place mostly at night. I don't why, but I just dig that last point about the flick. Years later I had forgot what the title was called, but I still could remember certain scenes and it entered on my ever-growing film list to track down. After a while I kind of forgot about it, but like my first viewing I came across it unknowingly on cable and it came flooding back again. That time I got the title! And I tracked down the DVD only a couple of weeks ago. From my second viewing of it I thought it was John Landis' best film, so when I got the DVD, I was hoping that it would be as good as I remembered it to be. So was it? Oh yeah, it was! I'll definitely go to say that this is my favourite Landis flick, yeah even more than "Animal House", yep more so than "Trading Places", a tad better than "An American Werewolf in London" and way ahead of "The Blues Brothers". I know that's a pretty big statement, but I thoroughly had a wowser with Landis' woozy attempt at film noir.

There's no denying that it's pretty much a self-indulgent flick with Landis getting a whole bunch of friends to join in the act, or is it just one big joke? But I didn't care as I just rolled with the punches and tried to pick up on all the familiar faces. Gee, there are a lot of them popping up, especially directors. The story of a bored guy meets strange gal and get into some weird mess where they're both risk their lives on a plan to get rich has been done time after time, well bits and pieces out of the story obviously have. Though, it just has a knack with its quirkiness, murderous impulse and unpredictable pattern. I can see why some people say it's disjointed, overly padded and that it doesn't know what it wants to be. Sure some things lack depth and meaning, but those out-of-the-blue situations make it more eventful and the pacing can somewhat become plodded, but I always found something noticeable in every frame to keep my full attention. Hmm, maybe it's just me? One moment would be when "Abbott and Costello Meet Frankenstein" is playing on a TV and what's happening there seems to fit in to what's going on in the particular scene. The dialog just seems to clash with the action. But then again maybe I'm reading things that aren't there?

This is not all a light-hearted comedy even if it has some slapstick shenanigans mixed with some offbeat and eccentric charm. The thriller element gives it a serious boot and the violence doesn't hold back with some outrageous murders. That especially goes for the tense and forceful climax, where nothing goes to plan. The story's idea is cleverly conducted with its many unexpected turns, scheming and plenty of fruitful characters adding to the zaniness. When it gets going, it gets going. Now what did get going was the simply smooth and steamy soundtrack. It ran with an oozing blues score and legendary musician B.B King was involved and he provided the main theme song. The melodies and score had a strangely hypnotic appeal weaved into them. The glowing performances are all great, though it's Michelle Pfeiffer that heads the top. She was just gracefully attractive with her glittering appearance and believably convincing as the mysterious Diana. Jeff Goldblum as Ed was his usual glum and awkward self with his dry sarcasm. But he has a watchable screen presence even though he seems to be sleepwalking. Even saying that, both of the leads are fleshed out rather well and they fit their parts perfectly. The sensational supporting cast provide a lot of odd and wonderful characters too. With the likes of Irene Papas, Paul Mazursky, Roger Vadim, Richard Farnsworth, John Landis, David Bowie, Kathryn Harrold, Clue Gulager, Dan Aykroyd, Vera Miles and Carl Perkins. Then you got the blink and you'll miss them cameos, which are rather diverting from Amy Heckerling, Jim Henson, Don Siegel, Rick Baker and David Cronenberg. I told ya it was long, but that's just the tip. All of these familiar faces had a witty script to work along with too. Well, what can I say; stimulating madness that dabs some touches of film-noir, comedy and thriller to proceedings.

An excitingly dangerous and unusual night road flick that has a variety of ingredients chucked into this very much 80s product.

This movie is a lighthearted romp! It is filled with laughs, some brilliant physical humor (who knew John Landis was a comic-action actor?), sudden surprises and a phenomenal cast.

And, as a little teaser to make you rent the theatrical version, Michelle Pfeiffer's only known nude scene! TSK, TSK, where she hid those gems!

Jeff Goldblum gives a deadpan performance that is perfect. It fits this movie, it fits his style, and at times it is just hilarious. Probably his best role ever.

The amazingly diverse cast includes Dan Aykroyd, David Bowie, Jim Henson, Paul Bartel, Carl Perkins, Bruce McGill (as Elvis!), Irene Papas, Vera Miles, Richard Farnsworth, Kathryn Harrold, Jake Steinfeld (Body By Jake) and even Clu Gulager! WOW!

But there's added richness for the film buff. Landis cast no fewer than 15 Hollywood directors in this film, plus himself! You can spot Lawrence Kasdan, Jonathan Demme, Paul Mazurski, Amy Heckerling, David Cronenberg, Roger Vadim, Jonathan Lynn, Jack Arnold, Don Siegel, Andrew Marton, Richard Franklin, Colin Higgins, Jonathan Kaufer and Carl Gottlieb.

Director Daniel Petrie even plays the director of a film-within-the-film, with the assistant director of this film, David Sosna, playing the assistant director of that film. There are cinematographers, writers and make-up artists, too, including Rick Baker, the first make-up artist ever to win an Oscar for his craft.

Too few people know about this sleeper. It's fast paced, funny and beautifully filmed. Rent it. You'll love it.

In Los Angeles, the insomniac aerospace engineer Ed Okin (Jeff Goldblum) has a boring job and a cold relationship with his wife. One afternoon, Ed leaves his job earlier to rest and discovers that his wife Ellen (Stacey Pickren) is cheating him with her colleague Stan (Carmen Argenziano). During the night, Ed can not sleep and he decides to drive to the airport to kill time. When he parks in the parking lot of the airport, he sees a beautiful woman, Diana (Michelle Pfeiffer), chased by four Iranians. He helps her and drives away to her place. Sooner he discovers that Diana has smuggled six emeralds from Iran and now she is chased by the gang of Shaheen Parvici (Irene Papas) and by the dangerous British killer Colin Morris (David Bowie) that works for the French Monsieur Melville (Roger Vadim). Ed Okin has an unforgettable night with Diana.

"Into the Night" is one of my favorite movies of the 80's. I have just watched this film at least for the sixth time and Michelle Feiffer is stunningly gorgeous. The engaging story is funny and one attraction is to identify the cameo of directors and other personalities, such as David Cronenberg, John Landis, Don Siegel, Jonathan Demme, and Lawrence Kasdan working with names like Vera Miles, Irene Papas, David Bowie and Dan Aykroyd among others. The awesome music of B.B. King gives a touch of class to this wonderful film. My vote is nine.

Title (Brazil): "Um Romance Muito Perigoso" ("A Very Dangerous Romance")

Note: On 14 April 2019, I saw this film again.

Aerospace engineer Ed Okin can't get any sleep. He's in a rut, professionally and personally. After discovering his wife in flagrante delicto with another man, Ed drives out to LAX. He has no real plan in mind; maybe he'll go to Vegas. In the airport car park, he comes across Diana, a jewel thief on the run from a gang of vicious Iranian villains. He saves Diana, becoming entangled in a complicated web of malfeasance. Will Ed and Diana make it through the night alive?

Directed by John Landis from a screenplay by Ron Koslow, 'Into the Night' is an offbeat crime comedy, a little like Martin Scorsese's 'After Hours' or Jonathan Demme's 'Something Wild.' Like those two films- which were released after Landis's- it follows an ordinary man thrust into an extraordinary situation. Okin is tired of the dull routine his life has become. After meeting Diana, he rediscovers excitement- and the will to keep on going- through his spontaneous journey into the Los Angeles underworld.

In this way, the theme of escapism is cleverly interwoven into the narrative. Okin's mundane existence is suddenly replaced by a thrilling escapade unfolding under the cover of darkness. This transition, from the banality of his daily routine to the unpredictability of the night, reflects a deep-seated desire to break free from the shackles of conformity. Similarly, the film delves into the search for meaning in life, as Okin embarks on a quest that is as much about self-discovery as it is about survival. The night becomes a metaphor for the unknown, a space where the characters are free to explore their identities away from the prying eyes of society.

If one were to explore the film's thematic content further, one could say Okin's chance encounter with the uninhibited Diana acts as a catalyst for an existential awakening. The film's portrayal of the night as a metaphorical journey from desolation to discovery is compelling, suggesting that, sometimes, one must be lost in the darkness to find the true light of life. This is a resonant theme, as everyone, at some point, yearns for an escape from the monotony of their daily lives. Landis captures this universal longing with a winning blend of humour and suspense, making proceedings all the more engaging.

Moreover, Koslow's dialogue sparkles with clever banter and funny lines, while his characterization- with particular regard to the supporting roles- adds another layer of humour, with each character bringing their own quirks and idiosyncrasies to the table. From the bumbling hitmen to the eccentric Hollywood figures Okin and Diana encounter, the film revels in the absurdity of each situation and character. The juxtaposition of comic and dark elements is a hallmark of Landis's direction, creating a film defying easy categorization; remaining memorable long after the credits roll.

However, it is not without its issues. The narrative feels meandering, with a tendency to wander as aimlessly as its protagonist through the sprawling Los Angeles nightscape. This occasionally results in a loss of momentum, leaving the audience yearning for a tighter storyline. Additionally, a plethora of side characters are introduced who, while colourful, sometimes distract from the central plot and lack depth and development. While this ensemble adds to the film's depiction of Los Angeles life, it also dilutes the impact of Okin and Diana's journey.

Having said that, Robert Paynter's cinematography perfectly captures the dichotomy of Los Angeles' glossy veneer and its shadowy underbelly. He brings a kinetic energy to the night-time escapades, with neon lights and the city's luminescence painting a backdrop that feels both dreamlike and gritty. The use of shadows and light not only adds to the film's noir aesthetic but also symbolizes the characters' journey from ignorance to enlightenment.

Furthermore, the soundtrack- featuring the likes of B. B. King, The Four Tops and Marvin Gaye- complements the film astutely. The bluesy tunes underscore the film's themes of loneliness and the search for connection, while the more upbeat tracks accompany the film's action sequences, adding a layer of excitement to proceedings. Moreover, Ira Newborn's original score acts as an emotional guide for the audience, subtly influencing our perception of the characters' experiences and the stakes of their adventure.

The film stars Jeff Goldblum as Okin, alongside Michelle Pfeiffer as Diana. Portrayed with a weary charm by Goldblum, Okin is the quintessential everyman, lost in the ennui of modern life. His character's evolution from a passive observer to an active participant in his own story is relatable; and Goldblum pulls it off with ease. Pfeiffer's pitch perfect performance as Diana is the ideal foil to Okin's inertia. With her quick wit and captivating allure, she embodies the excitement and danger that he craves. Their dynamic is the driving force of the film, as each character finds in the other something they didn't realize they were missing.

The chemistry between Goldblum and Pfeiffer seems genuine, providing a grounding human element to the film's wilder comedic escapades. As they navigate the night's challenges, their interactions offer moments of connection, underscoring the film's exploration of loneliness and the human need for companionship. Additionally, the numerous supporting characters are each and all realized brilliantly. Paul Mazursky's performance as a sleazy director and Kathryn Harrold's as an actress friend of Diana's are the stand outs, as well as Richard Farnsworth's as a millionaire and David Bowie's as a mysterious hitman who- as in David Lynch's 'Twin Peaks: Fire Walk with Me'- is given too little screen time.

Despite its meandering narrative and a surplus of side characters, John Landis's 'Into the Night' is compelling, unpredictable and comedic. Its exploration of themes such as escapism and the search for meaning- paired with standout performances by Jeff Goldblum and Michelle Pfeiffer- make it an engaging, entertaining watch. Boasting fine cinematography from Robert Paynter, as well as a stirring score, it works on nearly every level, and surely is a night to remember.