En la quietud de la noche

I almost turned this movie off in the middle because I was tired of being manipulated by the corny scary stuff that was overwrought and too dragged out. That stuff was okay for the master, Hitchcock, but today it has whiskers.

I was very surprised to see Meryl Streep looking more beautiful than ever before or since. It was the way her hairdo framed her face, I think. Any way, this movie was all Streep. Scheider has a certain gravitas which many Hollywood Idols never achieve even though they are far more popular. But Streep—from her first moment on screen I said to myself, I've never seen this side of her! She's created an entirely original person! Then she delivered a soliloquy toward the end of the movie which she fashioned with such skill and insight that one would think it was Shakespeare!

There is simply no one as good as Streep, man or woman. She turns this average movie into something worth watching.

This film has received quite a few negative posts. I also read Leonard Maltin's review, in which he said that it was full of holes and was a weak Hitchcock homage. I really think people are all wrong about this one; it's full of some very good old-fashioned suspense, and I love all of the Hitch touches many here have already noted. As well, it must be recalled that Hitch dealt in many implausibilities in his films. He hated those who constantly pointed out that "that could never happen in real life." It's not real life, it's a movie! That's one of the ways I thought this film succeeded, was in reflecting (or even gently parodying) Hitch's use of things that would never happen in real life. Loved the chemistry between Meryl and Roy, not to mention the lovely mentor/parent shrink/shrink relationship between Roy and Jessica. Nice work from Robert Benton. I love this film. --Matthew Hays

I remember being entirely taken with this film, seeing it several times when it was originally in theaters, way back in '82. Its creator, Robert Benton, freely admitted at the time that he intended this to be an homage to Hitchcock, and he's largely succeeded, right down to the cool, mysterious blonde female with a troubled past and the detective who is drawn to her, and the balletic, deliberate pacing that accentuates the suspense and tension, almost to a fault. Unlike Hitchcock, this film is strictly serious business, with nary a moment of lightness, which, alas, means something less than 'fun'. Hitchcock ALWAYS utilized humor, no matter how dark it may have been, recognizing that it, too, can actually heighten the suspense by putting people off their guard. This film would be richer for that sense but still it remains a good, solid mystery. As I've said, the story is pure Hitchcock: a murder takes place and a cool, mysterious blonde (Streep) may be the prime suspect, something that draws New York City psychologist (and amateur sleuth) Scheider towards her. One comment here said, "They don't make 'em classy like this anymore" and he couldn't be more right: from the restrained, low-key performance of Streep (accent-free but looking perhaps more beautiful here than in any other film she's done; she nearly resembles those women in a Dutch Renaissance painting), balancing the "livelier" performance of Scheider, to the lovely muted blues, browns, greys and blacks of its cinematography. There are a fair number of jolts and a satisfactory wrap-up, too. If there is any one fault with the film, it is, as one user has already commented, how slight the script is - it's nearly a puff of smoke! Another asked if we really needed ANOTHER homage to Hitchcock since De Palma's been doing it for years; however, one look at De Palma's films and THIS film and the difference is night and day: De Palma's films, which could be considered almost a Hyper-Hitchcock, are almost TOO jokey and slavish to its directors flights of fancy, while Benton's film exhibits the cool reserve, almost detachment, of its sophisticated New York settings. Hitchcock was THE undisputed master of thrillers and remains so to this day; it's wonderful to see other, modern directors try their hand at the lost art of the classy thriller/mystery. "Still of the Night" is definitely worth discovering, no matter its minor faults.

I think that writer/director Robert Benton was trying to make this movie akin to something Alfred Hitchcock would have made, but "Still of the Night" doesn't work as an homage or even a regular thriller. There is a real aloof feeling to this movie throughout - you don't really get a sense that any of the characters are those that are real flesh and blood. Roy Scheider was a talented actor, and Meryl Streep certain is, but even they seem overwhelmed by the depressing atmosphere and can't add much life. The main problem with the movie, however, is that it is extremely slow and boring. There are no shocks and there isn't even any real tension at any point. This extends even to the music score - there's almost no music in the entire movie. And it's extremely easy to figure out who the killer is, since the movie doesn't exactly give us a long list of suspects. Movies like this gathered dust in video stores for good reasons.

Convoluted suspenser that showcases both Scheider and Streep. It's not a flick to tune in and out of. The plot's tricky, with a number of flashbacks that got somewhat confusing for me. Anyway, Scheider's an emotionally detached psychiatrist who's slowly unwound by the mysterious Streep as he delves further into the stabbing death of her lover and his former patient, Bynum. Scheider's convincing as Dr. Rice whose emotions are hidden behind a professional demeanor. Doing that meaningfully, as Scheider does, strikes me as challenging for any actor. Meanwhile, Streep also scores as the emotionally troubled Brooke, who appears the obvious culprit in Bynum's murder. Crucially, however, it's hard to tell what's going on behind that unstable outer woman. Together, the two characters are little short of riveting as they interact in ambivalent fashion. Also look for renowned actress Jessica Tandy as Rice's sober-sided mother in what appears a tacked-on role that's nevertheless well played.

Though the screenplay's murky, perhaps appropriately so, there're a number of grabber scenes, like the dream sequence with the sinister little girl or Rice's walk into Central Park. However, the climax appears clumsily contrived in order to get a conventional ending. Too bad, since the movie's mood and well-placed ambiguities deserve better. All in all, it's an intriguing movie that remains a testament to its two leads.