La noche del asesino

Not sure what Spike was trying to say - that Son of Sam was a product of the craziness of NY and the heat of 1977?

While movies don't have to have endearing characters, you have to relate to them on some level to empathize with them. So that even if the circumstances of their lives or are not ours but we have find a connection on some level to be interested in them - in this movie, there are no such characters.

Some of them we are just tired of them because this movie is so long and enough already. The scary thing is we can relate to Son of Sam's breakdown more than any of the characters because we are starting to wonder if this dreary mess is ever going to end. Each character is unpleasant because they lead small, petty lives and are just whiners - we get it - let's move on Spike. Not interesting. And any characters we care about just dissolve into a pornographic and sleazy means.

Spike was a great director for exactly two movies - Spike, what happened? - he starts the movie by placing his characters in front of a sign that reads Dead End - as if that's not bad enough, in case we didn't get the pan on it or the lingering closeup, he cuts back to that sign about 50 times. In a local community college film class, you'd be derided as a rank amateur - let along a big budget movie.

Spike also appears in the film as a TV announcer - we know Spike can act - he choose not to act for his role - why? Who knows?

This movie is pointless, tiresome and dreary.

Spike Lee's "Summer of Sam," like most of his films, emerges as an intriguing but, nevertheless, regrettable failure. Using as his background the long, hot summer of 1977, when the serial killer known as the Son of Sam held New York City in the grip of terror, Lee spins a tale of drug abuse, infidelity and violence among a group of Italians living in a Bronx neighborhood. Unfortunately, Lee's meandering take on the subject robs it of much of its potential drama as he searches for a focal point that will make it compelling to the audience. He only occasionally succeeds and that is when he concentrates on the two lead characters: Vinny, whose deep religious convictions and sincere devotion to his wife cannot compel him to resist his womanizing compulsions, and Dionna, his beautiful but longsuffering wife, who suspects his infidelities and desperately struggles to satisfy Vinny's strong sexual needs but who runs up against the roadblock of her husband's strange misapprehension about what exactly constitutes the extent of marital relations. Vinny, in particular, as he struggles against the demons that plague him and the guilt they impose on him, suggests a complexity of character that makes him a compelling center for this otherwise sprawling story.

Unfortunately, many of the subsidiary characters, who surround these two and keep pulling us away from them, emerge as little more than ethnic and sexual stereotypes, from the neighborhood mob boss (Ben Gazarra) to the loving-father drug dealer to the punk rock iconoclast to the local flaming "fairy." Not even strong performances by a game cast can infuse these roles with the depth and humanity necessary to justify their inclusion in the film.

Stylistically, this film is much less visually flashy than previous Lee works with less elaborate camerawork and only the occasional near-subliminal quick cuts (used to convey memories) to distract us. Lee should, also, have avoided at all costs the temptation to cast himself as an on-site news reporter. Even more egregiously, why oh why did Lee feel compelled to visualize literally (through animatronics) the demon dog that Berkowitz reportedly cited as the motivation for his crimes actually barking out instructions to the crazed psychopath?

The risk in these docudramas is that the moviemakers will not be able to match, in their narrative, the compelling nature of the actual events upon which they are based. Lee's film is no exception, for just as the killer is captured, the fictional side of the story resolves itself in a flurry of heavy handed "Ox Bow Incident" melodramatics, scarcely credible even for a cadre of characters as lacking in common sense as these are. "Summer of Sam" is notable for the performances of John Leguizamo and Mira Sorvino in the central roles, its disco-drenched soundtrack and its letter-perfect recreation of a particular moment in recent American history. What a shame, then, that the film never really coheres into a satisfying whole.

Spike Lee goes berserk with SUMMER OF SAM, a twisted revisiting of the Son of Sam killings, New York, 1977. Lee steps away from his usual message pictures depicting the differences between blacks and whites and plunges us into the small Italian neighborhood within the largest city in the United States that serial killer David Berkowitz terrorized for months. The "Son of Sam" himself (played by Michael Badalucco) is placed in the back seat and Lee presents a community and an era for that matter in complete chaos.

SUMMER OF SAM has its good points and its bad points. We get to know this locale very well whether we like it or not. The characters who populate the neighborhood are funny, sad, and stupid all at the same time. You get a feel for the smells and the language of that time in that place. 1977 was the year of Disco's peak, the uprising of British punk rock (represented well by the Adrien Brody character "Ritchie"), and the Yankees were on top of the baseball world. These characters are truly nuts in their vigilante approach to finding the killer. Hell, Reggie Jackson (#44) may be the .44 caliber killer.

Aside from seeing into a sometimes gripping and stupefying world of violence and flash, the film does go overboard many times. Lee continuously rams the sex aspect of the period into our minds and Berkowitz is not seen or known enough. I did not expect a Berkowitz bio at all, however a more focused look at the killer would have proved more effective. The relationship between "Vinny" and "Dionna" (John Leguizamo and Mira Sirvino) is well-done, but over-told. True, "Vinny" is the movie's central character, but he has barely a redeeming quality and is a hard-headed product of his environment.

The cinematography and overall sound of SUMMER OF SAM is awesome. It looks grimy when it should and the use of The Who on the soundtrack is emotionally rousing, especially during the inevitable climax. I liked the picture mostly for cinematic reasons than for historical or emotional ones. The fictional neighborhood pieces are not as good as the small glimpses of Berkowitz, who does indeed chat with dogs. It did remind me in many ways of Lee's DO THE RIGHT THING, but this film has a larger canvas to paint. It works despite the shortcomings.

RATING: ***

Summer of Sam was berated on its US release by New Yorkers and relatives of the victims of serial killer David Berkowitz alike. In the summer of 1977, paranoia eclipsed disco fever as the so-called .44 Killer murdered six and injured seven, all while keeping in contact with columnist Jimmy Breslin (whose comments bookend this movie). Not the kind of events to revisit in these days of the easily offended, and seeing Lee's claustrophobic take on Berkowitz in his deranged apartment is almost enough deter you from visiting the Big Apple.

The focus of the movie is an insular community of Italian-Americans. Mistrust rules the roost: the only thing close-knit about them is an occasional cheesy tank-top. Fear and conformity underpin the set-pieces upon which Lee thrives, from cops meeting a Mafia chief (Ben Gazarra) to a half-hearted Studio 54-style orgy. John Leguizamo thrives when passing himself off as John Travolta, but his marriage is a hollow sham. His quest for redemption hinges on saving punk friend Ritchie (Adrien Brody) from both himself and the lynchmob they grew up with.

Summer of Sam has invited comparisons with Do the Right Thing, on account of its portrayal of the simmering tensions building up to horrendous violence. Yet the lifestyles on show throughout make it closer to Scorsese's Mean Streets, albeit balanced by several strong female leads, notably Mira Sorvino. At 142 minutes it has stretched the attention span of some viewers and reviewers, but as the closing credits roll Lee has got us to care about the characters as each boils over. Ditching the irksome music video/sitcom visuals - even at a Late-term Abortions gig, with Ritchie on guitar - this is Spike Lee's most mature joint to date.

Graham Barnfield

I know I may be one of the three people to say this (Roger Ebert being another of the few), but I think "Summer of Sam" is a great movie! First off, I'm a Spike Lee fan and I do feel that this is one of his best films. I think the problem most people had with the movie was that it wasn't the standard serial killer thriller they were expecting. If that's what you're expecting, you will be disappointed. Instead, "S.O.S." is a character study that focuses on the paranoia that spread amongst New Yorkers in the summer of the late seventies, when everyone was suspecting one another of being the Son of Sam. It was like a modern-day version of the Salem Witch Hunt. If you were as much as an eccentric, you were a suspect (like in the case of Adrien Brody's character in this movie). I like movies that focus on characters, and take time to develop them to a point where a feel a deep connection to each of them. Spike is one of those directors who favors character development over plot devices, and I think that's what makes most of his films work. The characters and dialogue are written in a very realistic fashion. It helps that Spike cast mostly authentic New York actors (i.e.: Adrien Brody, Jennifer Esposito, Mike Starr, Michael Rispoli). First of all, they don't have to fake their accents. Secondly, New Yorkers just have a certain vibe that cannot be fabricated. It also helps that the actors all have a great chemistry with one another. The cast is excellent all-around, with not one bad apple in the bunch. I think John Leguizamo gives the best performance of his career. For a comedic actor, he can surely pull off a straight role with flying colors. Part of the reason why is because he doesn't try too hard to play the drama, and when there's a scene that gives him a comic opportunity, he takes advantage. It's nice to see that Brody became famous, after winning an Oscar for "The Pianist" (as a side note, he's the youngest ever actor to win a Best Actor Oscar). If you're anxious to check out one of his good earlier performances, he does a superb job in this movie. Some people have criticized the use of F-bombs throughout the film--and yes, there are many. If you're easily offended by bad language, this will be like sitting through a death camp. But I didn't feel the language was in any way gratuitous. We're dealing with working-class Italian-Americans from the Bronx, who are involved in things like drugs and prostitution! Obviously, they're not going to be saying things like "gosh darn it!" This is not like "South Park" where there's just profanity for the sake of profanity. It adds to the film's realism. Finally, I loved the film's lighting style. Some of the shots are rough and grainy, but it helps intensify the gritty tone of the film. If you're one of those people who likes slow-moving character studies with great acting, you might share my feelings about "Summer of Sam." Obviously, if you're part of the summer blockbuster crowd who favors explosions and gross-out gags, this will put you to sleep. The movie runs at approximately 2 hours and 20 minutes, yet I never once felt bored. I'm not one of those people with a minute attention span, but any movie that can sustain my interest for 2 hours and 20 minutes deserves much acclaim. I have nothing wrong with long movies, as long as they're not overlong. After all, bad movies are never too short and good movies are never too long. When a movie is this great, you don't want it to end abruptly; you want it to keep going. (10 out of 10)

P.S.: The seventies soundtrack is magnificent!