Una noche en la tierra

It's not that this movie is non stop laughs, but just that it is so smart and such intelligent humor. It's got a clever premise about five short stories involving cab rides in different cities, but it's the specific situations that will crack you up. One after another, they are all hilarious. Roberto Benini's scene had me laughing out loud, and that never happens. The only sketch that wasnt so great was the opening one with Winona Ryder. Everything that followed it rocked and impressed the hell out of me. A smart comedy. not too many of those.

One night, five cities, five taxis. Five short stories set in Los Angles, New York, Paris, Rome and Helsinki involving taxi drivers, their customers, new connections made, lessons learned, opportunities and pain.

Written and directed by Jim Jarmusch, Night on Earth is a collection of five short stories with the link being that almost the entire story plays out in taxi with the main character being the taxi driver. The five stories occur roughly simultaneously in five different cities across the globe on the same night. Highly original in concept and setting.

Each story is wonderfully crafted by Jarmusch, with interesting, engaging characters and great interplay between the driver and their customers. There's also some interesting, edifying themes to the stories, presented in a subtle, non-confrontational way. Each story gives us different types of characters and different tones (and apart from Los Angeles vs New York, different languages!).

Cast is filled with big names - Winona Ryder, Gena Rowlands, Giancarlo Esposito, Armin Mueller-Stahl, Rosie Perez, Roberto Benigni, Beatrice Dalle - and nobody puts a foot wrong. Other than Gena Rowlands, none of these were huge stars yet, so Jarmusch certainly had an eye for emerging talent. The stand-outs are Winona Ryder as the rough, tomboyish Corky and Roberto Benigni as the hilariously funny Italian driver.

Great film.

A fantastic piece of entertainment: five little stories, five cities, four languages. That's all. This movie has no message but it portrays five regions of the world most sensitively.

The L.A. episode is the weakest. It is not bad but it has one big problem: it is the first one. People start watching the movie and expect something sensational. This first episode cannot present anything spectacular, only first class character acting. There are no big surprises or twists, the episode is not particularly funny or anything. Honestly, when I saw the first minutes of this movie I thought: `O dear, I'm going to fall asleep!'

Then, the N.Y. story came. This one made me laugh real hard, and it made Armin Mueller Stahl one of my favourite actors. I started to love this movie, and I was well prepared for the Paris episode, which is, in my opinion the best, the most satisfying of them.

I found the story of the Roberto Benigni episode rather stupid, but his talent in exaggerating (so he did this even seven years before 1999's Oscar ceremony!) made up for it.

Then, the huge contrast: The liveliest episode is followed by the dreariest. Finnish workers tell each other stories from their lives, each trying to tell the saddest.

`Night on Earth' is not a movie for everybody but I think it is, in any case, the ideal movie to watch on television at two o'clock in the morning.

Jim Jarmusch does for movies as Tom Waits does for music, no wonder he uses his music in his films. I've seen this movie over and over, its truly wonderful. We glimpse A side of the world that is the same no matter where you go. The world is round so no matter where you go you are always in the center of it. Here we catch a Taxi in different cities around the globe and although the cultures are clearly different , there is something of the blues in each act. I can't make out which one is my favorite, they all have a certain magic to them that totally captures to mood of the country we are in although the mood itself is that of the night where not much seems to be going on really except in our taxis. Each scene in this film is a masterpiece, no matter which country Jarmusch takes us too. Of course Benigni needless I mention is that little bit more of a of a superstar but for that matter so is the blind girl in Paris. Great music, great photography, great acting, its all good. Its magic!

Jim Jarmusch, a director who never neglects to find the time for the little moments, glances, exchanges in dialog, that bring out the better (or lesser) in people, puts his skills to full force in Night on Earth. Another in his several episodic-style films, this time he pushes forward his great use of pure conversational, and emotional, comedy, as well as drama. In fact, this may be one of the best from the 90's of that kind that came out (i.e. mixing comedy and drama to create some bittersweet vignettes). Inspiration of course pours out from European cinema, but even in the American segments there's a sense of genuine pathos with the characters. Sometimes one style was kept totally consistent, with all comedy in episode four or all tragedy in episode five, or the two styles went back and forth like in the first two. The third remains the more ambiguous, and maybe more uncomfortable, segment of the bunch, and even if it might be the lesser of them all it's still fascinating due to the actors.

But to get back to the humanism that comes on in the film, it's not something at all uncommon to Jarmusch's work. In Ghost Dog it goes a long way to help us not be too left out of the world of Whitaker's character, or it makes every lady seem all the more odd and unique in Broken Flowers. Here since it is met with a more realistic approach, with situations that could be happening right now at night in these cities, I'm almost reminded of Renoir. Particularly in the second segment in New York, where there's the perfect divide between lightness and over-the-top- lightness being in Armin Mueller-Stahl's performance as Helmut (German ex-clown turned un-knowing cabbie) and Giancarlo Esposito's performance as Yo-yo. Maybe it's because scenes like these usually wouldn't make it into 'mainstream' fare, but a sequence like this showcases some great dialog on both sides (and when Rosie Perez comes in, all bets are off). Stahl especially makes the scenes work in-particular as he almost seems to inhabit this person of an outsider in the (taken for granted) amazing space of NYC.

To say which one was my overall favorite might be a little picky, as every one of them had something to offer differently. There was the cute, and slightly awkward, scenes with Ryder and Rowlands (maybe one of Ryder's few gems in her career too, mostly based on style). The segment in Paris, again, may make one feel a little uncomfortable, but that might be the point. And I loved how Beatrice Dalle's role went effortlessly between the bizarre and the almost ironically compassionate. It's also the segment which provides a little extra bitter of a touch by way of the Ivory Coast cabbie, however it does come to pass as being about two outsiders thrust into a strange little moment in life. Roberto Benigni's segment was drop dead funny, which is surprising considering the hit or miss ways of Jarmusch's comedy. But Benigni is so outrageous in his long monologue its no wonder what becomes of his passenger. It's a terrific mix between Benigni's voracious style of fast (but not too fast) speech, and a sort of silent-film kind of comedy, likely out of Buster Keaton or something. And all of this is accentuated by a carefully controlled mis en scene of driving (which is always visually endearing), where right when you're expecting there to be a cut it waits one or two extra seconds. It's a film with a sweet rhythm that doesn't drag like in Jarmusch at his worst.

The last segment, oddly enough, could be a downer for some. It was for me, until I decided to watch it a second time. This combines the frustration seen in bits in the other segments regarding a city life that bogs down on its inhabitants, and the sympathy that can come out even behind the tough veneer of lives lived with a shell protecting them from idiots. When it comes time for Matti Pellonpaa's monologue, it makes for the most touching, and a close-call for most emotionally striking, thing Jarmusch has ever written, put together by his portrayal. What's interesting even more so is how the film, despite this bleak story, doesn't seem to end too much on that note, due to the last little bit between Mika and Avi, the drunk passenger. In fact, after watching this a second time, I got to get the sense of what the film might be about- getting past that separation between a driver doing his job and a passenger with their own issues. It's also a small ruby of a communication fable, of how lives in different cities and countries may be of course different in speech and attitude and dress, but have similar plights to deal with in the dead of night.