Les feux de la nuit

In NYC, Jamie Conway (Michael J. Fox) is drinking and doing drugs until the clubs close. He had lied about being fluent in French and has a fact-checking job on Gotham Magazine. His boss Clara (Frances Sternhagen) has a rush French job expecting him to fail. His co-worker Megan (Swoosie Kurtz) tries to help him. His best friend Tad Allagash (Kiefer Sutherland) is even worst. His model wife Amanda (Phoebe Cates) had left him behind for Paris and he's still struggling with his mother (Dianne Wiest)'s death. He becomes obsessed with a New York Post story about a coma baby. He gets set up on a date with Vicky (Tracy Pollan) by Tad.

It's the last directing effort for James Bridges. It's not nearly as cheesy as Perfect but he's been on a downward slide for awhile. The biggest problem is that Michael J. Fox doesn't fit this role. He doesn't have the required darkness. He has a beautiful lightness that can't be extinguished no matter how hard he tries. Otherwise, the movie has the overall sense of a time and a place. With Kiefer Sutherland in the lead, this could have been something special.

I won't bother with recounting the plot--plenty of others here have done that--but I will give some thoughts from the perspective of a 40-something who remembers fondly the movie and the times from whence it came.

I remember hating this movie when I first saw it back in the day. I'd read half the novel and hated that too. My main memory of both of them, oddly enough, was the Coma Baby. It features heavily in the book but somewhat less so in the movie.

Watching it again so many years later and so many years out from the 80s, I was surprised to find myself enjoying it. Perhaps it was a nostalgia thing. My mind was certainly flooding with associated memories. 1988 was the year I finished high school. I was soon to leave my little red-neck country town and move to the big smoke where a whole new life would begin (and there have been at least three more since then!).

Some positives: I'm a huge Donald Fagen/Steely Dan fan, so Fagen's soundtrack was appreciated. It doesn't really sound like his regular stuff (until the very end), and was, frankly, often quite cheesy and even out of place at times. But I convinced myself I liked it. Other Fagen fans may also. The movie really grabs the 80s very effectively. Nightclubs, hair, blow, the whole bit. There is a surprising appearance from the wonderful Jason Robards which, shamefully, is uncredited according to IMDb. Considering the size of his role this is kind of odd.

Negatives: Phoebe Cates seemed completely unconvincing as a model and Michael J. Fox was completely unconvincing as a...sorry, but, hey...as a grown-up. He's never really any different from how he was in Back to the Future or even Family Ties. He's still all got up in jeans and a suit jacket, skipping all over the place, and gulping, "Shucks" (at least seemingly). No disrespect to the guy. Just that this movie reminds that he was never so well suited to anything with pretensions to being serious. And that last point sums up the problems with this film: it eventually becomes apparent that the movie is trying to be taken seriously. It just doesn't work though. A pretentious novel as starting place doesn't help. Ham acting and cheese dialog don't help none neither.

Still, an enjoyable time capsule. Kiefer does OK as wise-a** friend. The wonderful Frances Sternhagen, an appearance from the then-soon-to-be-late John Houseman, and even the magnificent William Hickey. Tracy Pollan is gorgeous and Swoosie Kurtz is her usual charming self. The ending is quite poignant, featuring Dianne Wiest, but isn't enough to really justify getting there.

If you're 40-something, watch this with ice cream and snacks on a lazy weekday evening. If you're younger or older than that...probably don't bother, coz it ain't really that great.

I remember the ads for this film on TV when it came out, and it seemed appealing to me then, even though I did not see it until recently on video. I must say this is not a bad film by any means, and has quite a bit to say about the struggles of young adults trying to "find their place" in the world. It seems to me to be sort of the father of "Trainspotting" in several ways (drugs, youth struggling with identity in society, narration, etc.), although not nearly as elaborately produced, there are some pretty decent elements of style incorporated some of which work well, some not so well.

Frankly I was surprised this was a Hollywood picture. The subject matter is not something that one would think people would flock to see, but maybe the producers thought it might be a new kind of "Breakfast Club" type film. Who knows, but it was an interesting risk that didn't pan out, as I do not recall this being a very successful film at the box office, but I admire the attempt at bringing it to a wide audience.

Some of the scenes seem a bit awkward, like the opening of the film at the former, great, NYC club, The Paladium, and the ferrit scene towards the end, and the confrontations with Pheobe Kates. However one has to wonder if this was intentional, because of the film makers' apparent desire to show that in "reality" things are not always so comfortable.

Overall a film worth one's time, if you keep your mind open a little bit. This is not Hollywood fluff, but it isn't a Lions Gate release either. I think Michael J Fox also deserves a lot of credit for doing "Bright Lights, Bit City" because this was the height of his career and to take on such a risk and a challenging as an actor should be commended. The movie is a pretty good attempt at handling a subject that is a reality for many youth. I think this audience is the one who would have most use out of such a film so if you fit in that category, it's worth your time.

Despite the lukewarm reviews this film is always given, it is actually quite good. It may not fare on the same level as more gritty, powerful 80's substance abuse films such as Less Than Zero or Clean And Sober but its very likeable. Yes, some of the scenes from the book don't actually survive their journey to the screen but even these scenes are charming and enjoyable...in an awkward sort of way. For instance, the coma baby. Who doesn't love the coma baby?!?! He's great. And so is Michael J. Fox in what is arguably his best role. He makes Jamie the handsome, vulnerable guy who really "wouldn't be at a place like this at this time of the morning." I can't say someone else couldn't have done it better but Fox pulls it off without trying to sneek around any drama with jokes like a lot of comedy-gone-drama actors try to do. His drunken dialogue in front of Swoozie Kurtz over dinner at her apartment is a genuinely great piece of acting. Keifer Sutherland is there to play Allagash and nobody could play Allagash like Sutherland plays Allagash. And the dialogue is great due to McInerney's wit and ear for the clever talk of the coked-up New York night people. I can't say too much for the directing but the talent here, no matter how misled, is undeniable.

I read the original book for a Freshman English class, and was enthralled by a unique character study from a Second Person perspective. Then, the teacher showed us this, and now I understand why "film snobs" always complain "The book was better." In this case, it most certainly IS. There's a major plot point toward the end of the book (which I won't mention here, not so I won't spoil the movie, but the book), that puts all that you read into perspective and makes it all worthwhile. Here, the point is revealed in the first 5 minutes, and it ruins any reason to sit through this motion picture. Instead of reading and wondering "Why is he like this?," which was one of the main reasons the book was such a page-turner, the movie tells you why he does it, and you just sit there and watch him do it, knowing why. Remember how people say they hate people who reveal the endings to things? Well, this movie just up and DOES IT ITSELF! If you still want to see the movie, first read the book, then have some fun with friends picking apart this mish-mosh of a noble failure.