Dernière sortie pour Brooklyn

This is one of the best scripts EVER written...pure and simple. The idea of a story, where it operates completely on a subtextural level, forming an overall landscape of sin and redemption without the characters themselves even realizing it, is off the scale. People who say this film is meaningless probably wear tee-shirts with Meg Ryan's picture on the front. I'm not knocking Meg Ryan or the person wearing the shirt...it's just a connection. I also don't agree that the story has no ending. It has a wonderful ending. Seeing Tralala, after what she just put herself through, finally respond to someone's genuine compassion, is a remarkable thing. The story operates on the same level as many Selby stories do, of characters so devoid of faith or hope that they don't recognize how close they are to having what they want or just appreciating the potential in what they have, and that mistake causes their undoing (in Stephen Lang's case) or their uncovered possibilities of grace (Jennifer Jason Leigh). In the end a new life (Burt Young's grandson) is brought into the world, and a new family formed by people who did recognize and do the right thing moves forward in the world. It's majestic.

Mark Knopfler's beautiful and melancholy score paints a haunting and pained picture, over this, an extremely hard-hitting drama, superbly directed by Uli Edel.

For 1989, its release date and set around Brooklyn in the 1952, this is as strong as films got. The "C" word, rape scenes, florid homosexuality and sexual violence - from a novel (by Hubert Selby jnr) that was initially banned under the Obscene Publications Act.

So, why watch it? There's a sense of brooding beauty about it, in the same way that West Side Story had flawed characters, in so many conflicts, within their own community and incomers, such as military servicemen, at night, looking for a great time. Enter busty, platinum blonde and cocky Jennifer Jason Leigh, who gets men in bars buying her drinks, leads them out for some 'fun' and then her mates bash him round the head with a bottle. Grabbing the money, they're just those hoodlums from west Side...just older, doing worse things.

Stephen Lang, meanwhile, is the shop steward for a union, that's called its dockside workers out. He's raking in on expenses, for things he doesn't even need. He's got a wife and baby, but leaves them at night to go out with Regina (actually, Reginald) a camp gay and his bitching transvestite buddies.

As you can see, this is strictly for adults and no, I haven't read the book. A friend I lent the DVD to, who's read all manner of literature, from the classics to strong stuff like this, just said "Wow".

It's a memorable and distinctive film. Not one that's known, either commercially, or infamously. It doesn't seem to get bundled up with the likes of Natural Born Killers or A Clockwork Orange. Maybe cos it has a heart; a survivoral instinct that's most apparent in the Italian families in the film, headed by Burt Young, who of course played Paulie, Rocky Balboa's wheezing training aide, in the Rocky movies.

My Universal release has a fine transfer and is quite cheap, especially secondhand. So, if you want something pretty edgy, but with a heart and a pulse, this could end up in your player.

I remember my intense eagerness to see this film. I wasn't entirely sure why at the time but when I finally saw it in 1990 I was devastated and soon addicted to this sad tale of city life spiralling out of control. Its a film with an epic quality and a grand, sweeping style that turns the city scape into a character in itself. This was Uli Edel's (as he was then known) classic and it remains a remarkably strong film. Its not pretty and doesn't hold back in revealing the light and dark of its characters. Brutal it may be, but there is something vital and alive seething in this movie with anger and pain. Its source is Hubert Selby Jr's novel. I believe its a superior adaptation.

The film is based around a union strike which threatens to cripple the city of Brooklyn in the 1950s. The film focuses several characters; Harry, the troubled union leader struggling to come to terms with his desires for other men and his gender-bending lover against the anger, aggression and hypocrisy of the era; a woman, TraLaLa, who sells her body for money but finds herself committing the ultimate crime of her profession by falling for a client - an army man destined to hurt her; a family with a daughter pregnant out of wedlock; a gang of aimless young men hungry for trouble; and a young teen looking for love in TraLaLa.

Its a film full of fascinating performances which reinforce the greatness of this film. Jennifer Jason Leigh burst into the spotlight with her startling performance as TraLaLa. She embodies the role with unceasing honesty and vigour. It is her late scenes in the film which rip at the heart, especially when she finds compassion in an unlikely source at the worst of moments. Her portrayal doesn't seek sympathy - on the contrary Jennifer Jason Leigh gets deep inside the cruel and manipulative character to reveal the hope beneath without a false note. Peter Dobson, Stephen Baldwin are a brilliant combination as the thugs and Alexis Arquette is remarkable as their taunted worshipper, Georgette. Ricki Lake, Sam Rockwell and Stephen lang also excel in a great ensemble film.

I can still picture vividly the majesty and intensity of the strike riot and the water spraying at the wire fence as strikers confront the police.

There are many great scenes such as this which combined with striking performances and an unflinching script and score make Last Exit to Brooklyn a modern masterpiece. This is a highly underrated film, mainly because of the view that the subject matter is too seamy, grotesque and extreme. And there is no doubt this is a confronting, violent and provocative film experience. Unfortunately, because of this widely heralded view, many people are missing out on an unacknowledged classic. Don't miss out.

Last Exit to Brooklyn is a great flick. It's brutal, dark, funny as heck at times, and in the end uplifting. Watching this movie it was hard to imagine this was based on a book from the 50's. A book which explores homosexuality, prostitution, sexual confusion would seem to be almost unheard of subjects in the uptight, Leave It To Beaver 1950's. People who put down this film don't know what they're talking about. The author of the book this movie was based on said himself he thought this was one great adaptation of his novel. And he was sure right. Folks who can handle the dark, brutal films of David Lynch, the Coen Brothers and Tarantino, Scorsese, Kubrick, Hartley and Fosse will dig this movie. But if "You've Got Mail" is your idea fo a great rental, you won't like it a bit. It's just as well, a lot of great, cool films aren't for everyone.

After being blown away by the film version of Requiem for a Dream, I recently began reading some of Selby's books. I started with The Room and moved on to Last Exit to Brooklyn. Tonight I watched the film.

I think it's very unfortunate that people have criticized it here for exactly the qualities that make it unique compared to most American films. Yes, it's dark, and yes, there are not always clear resolutions to every character's part of the story. Those are qualities present in Selby's book and it would have been a shame for the filmmakers to abandon them, just as it would have been a shame for Aronofsky to cave to the pressures to find a happier ending for his film of Requiem...

As a reader of the book I think those negative comments are even more misguided, because the screenwriter did quite a bit to try to make the material more accessible for the viewing audience. He intertwined what are essentially separate stories (the book is more like a collection of short stories around related themes than a traditional novel), and found what was probably the happiest ending possible given the material. The book doesn't end on the relief of the end of the strike, but finishes with an amazing coda that contains characters like Abraham, a man who spends money on clothes and his car but won't cough up to buy vitamins for his malnourished children.

My one big complaint about the screenplay was the treatment of Harry Black's character. In the book he is a largely ineffectual blowhard who is laughed at by almost everyone around him, but in the film he is almost heroic at times, leaping into the middle of the confrontation at the picket line. I think his descent is more credible in the book, but Selby was also able to get inside Harry's head on paper in a way that's difficult to translate into film.

Overall I think this film is a very excellent adaptation of extremely difficult material, and I recommend it to anyone who is willing to watch a story about the pain and suffering that happens in everyday life without the Hollywood gloss.