Light Sleeper

Paul Schrader is a director whose films should be seen more often. He is a man that never compromises and tackles adult themes with great panache, as he has amply demonstrated throughout his distinguished career. He was long associated with Martin Scorsese, but when he decided to go on his own, he showed his talent was there all the time.

Mr. Schrader's films have a sense of style that are not easily matched by many of today's filmmakers. He knows what seems to work, and what not. His movies show a sophistication, as we mere mortals, are invited to participate, even though we haven't received the invitation in the mail.

Most comments in this forum are excellent, so we won't even attempt to add anything that hasn't been said before. "Light Sleeper" is supposed to be one of Mr. Schrader's favorite films, and it's clear to see why. He has infused the film with characters that are easy to see why they are portrayed on the screen. Willem Dafoe is obviously an actor held in high esteem by Mr. Schrader. As John LaTour, Mr. Dafoe is at his most introspective self. His character shows a complexity that is hard to match.

The rest of the cast is excellent. Susan Sarandon is perfect as Ann. Dana Delaney is Marianne. Mary Beth Hurt, Victor Garber, Sam Rockwell, David Spade, are seen in supporting roles.

The great atmospheric music of Michael Been is heard in the background and it helps add another layer in the texture of the finished product. Edward Lachman does an amazing job with the way he photographed the film that includes a lot of night time scenes in Manhattan.

Take a look at the film, as Mr. Schrader will impress, even a casual viewer.

"Light Sleeper" is a great and very effective yarn that follows John LeTour (Willem Dafoe), a drug trafficker/former addict who seems miserable and lonely while bringing drugs to users in the Big Apple. LeTour's life is put to the test when he finds out from Robert (David Clennon), that their boss, Ann (Susan Sarandon), is finally switching to cosmetics instead of drugs and an old flame, Marianne Joseph (Dana Delany), comes to town to visit her ailing mother. The movie moves at a steady pace and doesn't get ugly until the fierce and bloody shootout near the end of the movie. I must note that I'm a big fan of Dafoe and the strong (and moving) performance that he gives here is why I admire him a lot.

The film's photography, shot by Ed Lachman ("The Limey", "The Virgin Suicides"), is nothing short of brilliant and beautiful. In the early moments of the film, there are several small piles of garbages that nearly cover up the sidewalks and the bottom of the street lights. Dafoe, who also narrates the movie, mentions that there's a strike. Also, the musical score that's composed and performed by Michael Been, is good to listen to and it stayed with me during the whole film.

Paul Schrader (who directed the movie and wrote the screenplay) knows very well how to handle the film here with a simple and wise approach. Most of his earlier (and recent) work, dating back (and now) to the screenplay(s) that he wrote for Martin Scorsese's "Taxi Driver" and "Bringing Out The Dead" and one of his own films - "American Giglo" make great examples of anyone who works at night and feels agitated. "Light Sleeper" itself has to be one of Schrader's best films for sure.

Paul Schrader's finest film to date, and firmly lodged in my top 10, this is a surprisingly overlooked and underrated gem. Often touted as a "modern noir" movie, I really don't consider it in that genre at all.

The heart of the film is a reworking of the themes embodied in Schrader's earlier film "American Gigolo", where a man is forced to confront the fact that the life he is leading is fundamentally unsatisfying, reassess what he wants to do, find out who his real friends are and ultimately get redeemed through love.

Willem Dafoe's character Le Tour's journey is a slow but inevitable one, as his drug-dealing days are numbered due to his boss Susan Sarandon (also splendid) "going straight". Most of the scenes take place at night (hence the noir tag), but this is partly a consequence of the drug-dealing aspect and partly to capture the unreal mood of a man who doesn't know where he fits in to "normal" life. The device whereby Le Tour spends many hours writing his thoughts in an exercise book, throwing it away when he fills it, then starting another one, is so strong and startling that I put aside my usual dislike of narration. The soundtrack is also excellent and fits and expands the mood very well.

The best scene is probably the one in the hospital cafeteria, where Le Tour has a conversation with his ex-girlfriend that he hasn't seen for a long time - immaculately acted, tremendously understated with so many things going unsaid... The final scene, although Schrader nicked it from a French film, and used it before in "Gigolo", is still very powerful, based on the idea that whether a man is in prison or not is completely unrelated to whether he is free.

Critics often rag on Paul Schrader for writing films about scumbags who find violence a shortcut to salvation. The conventional wisdom is that Schrader's scripts play better if Martin Scorsese directs them (Taxi Driver, Raging Bull) and that when Schrader directs Schrader, the result is a heavy, humorless mess. But that's not always true. In directing his own Hardcore and American Gigolo or scripts written in a darkly witty vein (Nicholas Kazan's Patty Hearst, Harold Pinter's Comfort of Strangers), Schrader can be slyly inventive. Crowd pleasing? No. Challenging? You bet.

It's difficult to imagine anyone but Schrader controlling the moral turbulence in his script for Light Sleeper, a boldly resonant thriller that elaborates on Schrader's favored themes of sin and redemption. John LeTour, a drug dealer played by Willem Dafoe, is a loner with direct connections to Taxi Driver's Travis Bickle and American Gigolo's Julian Kay. At forty, LeTour is in crisis. His boss, Ann (a fireball Susan Sarandon), is about to chuck drugs for cosmetics. LeTour is losing his coke customers to crack. And he is spooked by a psychic, strikingly played by Mary Beth Hurt. But in his diary (one of several tips of the hat to Robert Bresson's seminal Pickpocket), LeTour writes, "I can be a good person."

Maybe so, but transcendence doesn't come easy. New York's mean streets, given a noirish sheen by cinematographer Ed Lachman, tempt LeTour as he drives through the night making deliveries to the sleek and the sleazy. He is heartened by a chance meeting with Marianne (Dana Delany), an embittered former love and former addict who lets down her defenses for one night. (Warning: Hearing Delany announce, "I'm dripping," during a hot sex scene with Dafoe may be too much for China Beach fans.) As expected, violence erupts before things settle down. Schrader is out there again, testing the limits of audience tolerance. Good for him. Buoyed by his questing spirit and Dafoe's mesmerizing performance, Light Sleeper might just keep you up nights.

Drifting through life - I guess ome can really understand what that's like. The status quo is something you don't approve of, but you don't have the willpower to break through and change yourself or rather the way you live. It probably one of the few cases to depict this quite exceptional, without really pointing it out. In a way this is quite amazingly done.

And then there is the case! Yes Susan Sarandon and yes Willem Dafoe - but what Sam Rockwell in a small scene too? And even David Spade in a role that will not annoy many (though also not make many laugh as he is able to do). The story itself is pretty straightforward but it is the layers that really should get to you - that is if you are looking for them. Maybe you'll just enjoy a thriller, which also is not a bad thing at all. Human depths and flaws be damned