Um Romance Muito Perigoso

'Into the Night' stands as one of my favourite films of the '80's. In fact it stands as one of my most favourite films ever. Why? To be quite honest, I'm not sure why. It wasn't the best concept or script, the performances are okay -(with the exception of Goldblum who is outstanding)- and even John Landis' direction was at times on cruise control.

But what it did in 1985, was to reflect so much of what was going on. The ruthless drive for efficiency that makes Okin's aerospace company so demanding, the 'me' approach to relationships that results in Ed's wife's adulterous behaviour, the worship of fortune that dominates Diana's life and drives her so relentlessly - until Ed brings her something a little more worthwhile.

It had the right look, the right feel and the right cast to make you smile and go along with the goodtimes and the in-jokes between peers of the movie establishment. Here was a collection of successful players in Hollywood showing just how slick movie-making could be.

The screenings must have had the feel of a home movie with most of the cast sitting in the theatre enjoying their various cameos. Bowie, Cronenberg, Kasden and of course Landis himself, all doing it for their own.

I loved it when I first saw it and I'll be buying the DVD in Sept '03 when it finally appears. Is 'Into the Night' a great film? Probably not, but it makes me feel great everytime I take that ride to LAX in the little white Fiat...You had to be there.

A man's depression and insomnia drive him "Into the Night" and a lot of trouble in this enjoyable 1985 film. Goldblum is Ed Okin, an LA aerospace engineer whose sleep problems are causing him difficulty on his demanding job. His friend (Dan Ackroyd) suggests that the next time he has insomnia, he head for Las Vegas where no one sleeps. After he sees his wife cheating on him, that's just what he does. Then Diana (Michelle Pfeiffer) jumps into his car and his night turns into a dangerous adventure. Pfeiffer has smuggled perfect emeralds into the country for a promised fee, except that everybody is now after her and willing to kill to get them.

There are some great, quirky moments in this film, and one of my favorites occurs when Ed and Diana walk into the apartment of her brother (Bruce McGill) which is wall to wall Elvis. Then her brother walks in - he's an Elvis impersonator. Priceless. Diana and Ed take his car which has the words THE KING LIVES painted across it. One faction looking for the emeralds come off like the Middle Eastern version of the Stooges, particularly in a beach house scene where, trying to get out of a door, one of them keeps hitting himself in the face with it.

The unique thing is that director John Landis has cast many of his fellow directors: Lawrence Kasdan, Jonathan Demme, Paul Mazurski, Amy Heckerling, David Cronenberg, Roger Vadim, Jonathan Lynn, Jack Arnold, Don Siegel, Andrew Marton, Richard Franklin, Colin Higgins, Jonathan Kaufer and Carl Gottlieb - that's a partial list. They're all good, too.

The always terrific Jeff Goldblum gives us a shell-shocked Ed who seems to take each moment as it comes with what is either calm or numbness - it's unclear which, but it works in the role. Pfeiffer is a young beauty in this - she has a very brief, distant nude scene - and is certainly the type of gal a man would go out of his way to help. She's very appealing. Old-timer Clu Gulager also makes an appearance toward the end, and David Bowie has a menacing role as one of the people after the emeralds. There are some fun shots of Los Angeles like Hollywood Boulevard in front of Frederick's of Hollywood that are a real kick.

"Into the Night" is offbeat and fun with enough violence to make it somewhat edgy. A real find.

Jeff Goldblum plays a man with a boring job, a cheating wife, and insomnia. One night beautiful Michelle Pfeiffer enters his life on the run from trouble of her own. The two have a wild night ahead of them as they run from irate Iranians. That makes more sense than it sounds, trust me. Lots of cameos from directors such as David Cronenberg, Jonathan Demme, and Don Siegel. Also a fun cameo by David Bowie. Goldblum and Pfeiffer are great. A solid comedy from John Landis; good escapist fun. Great soundtrack including the title song from B.B. King. Also worth checking out for a very rare (but brief) Pfeiffer nude scene.

Plenty to enjoy here in this escapist movie. Goldblum & Pfeiffer are fun in the main roles. Suspend belief and take the exciting journey that Goldblum has with Pfeiffer. Look out for the running joke with many famous directors in cameo roles. Look out for David Bowie and Carl Perkins in a knife fight (is this a metaphor for traditional rock v glam rock?). Although an escape action drama it has plenty of amusing scenes eg. the hoods eating peanuts and breaking candy with their guns.

And the title track and soundtrack by the worlds best blues guitarist -BB King.

Aerospace engineer Ed Okin can't get any sleep. He's in a rut, professionally and personally. After discovering his wife in flagrante delicto with another man, Ed drives out to LAX. He has no real plan in mind; maybe he'll go to Vegas. In the airport car park, he comes across Diana, a jewel thief on the run from a gang of vicious Iranian villains. He saves Diana, becoming entangled in a complicated web of malfeasance. Will Ed and Diana make it through the night alive?

Directed by John Landis from a screenplay by Ron Koslow, 'Into the Night' is an offbeat crime comedy, a little like Martin Scorsese's 'After Hours' or Jonathan Demme's 'Something Wild.' Like those two films- which were released after Landis's- it follows an ordinary man thrust into an extraordinary situation. Okin is tired of the dull routine his life has become. After meeting Diana, he rediscovers excitement- and the will to keep on going- through his spontaneous journey into the Los Angeles underworld.

In this way, the theme of escapism is cleverly interwoven into the narrative. Okin's mundane existence is suddenly replaced by a thrilling escapade unfolding under the cover of darkness. This transition, from the banality of his daily routine to the unpredictability of the night, reflects a deep-seated desire to break free from the shackles of conformity. Similarly, the film delves into the search for meaning in life, as Okin embarks on a quest that is as much about self-discovery as it is about survival. The night becomes a metaphor for the unknown, a space where the characters are free to explore their identities away from the prying eyes of society.

If one were to explore the film's thematic content further, one could say Okin's chance encounter with the uninhibited Diana acts as a catalyst for an existential awakening. The film's portrayal of the night as a metaphorical journey from desolation to discovery is compelling, suggesting that, sometimes, one must be lost in the darkness to find the true light of life. This is a resonant theme, as everyone, at some point, yearns for an escape from the monotony of their daily lives. Landis captures this universal longing with a winning blend of humour and suspense, making proceedings all the more engaging.

Moreover, Koslow's dialogue sparkles with clever banter and funny lines, while his characterization- with particular regard to the supporting roles- adds another layer of humour, with each character bringing their own quirks and idiosyncrasies to the table. From the bumbling hitmen to the eccentric Hollywood figures Okin and Diana encounter, the film revels in the absurdity of each situation and character. The juxtaposition of comic and dark elements is a hallmark of Landis's direction, creating a film defying easy categorization; remaining memorable long after the credits roll.

However, it is not without its issues. The narrative feels meandering, with a tendency to wander as aimlessly as its protagonist through the sprawling Los Angeles nightscape. This occasionally results in a loss of momentum, leaving the audience yearning for a tighter storyline. Additionally, a plethora of side characters are introduced who, while colourful, sometimes distract from the central plot and lack depth and development. While this ensemble adds to the film's depiction of Los Angeles life, it also dilutes the impact of Okin and Diana's journey.

Having said that, Robert Paynter's cinematography perfectly captures the dichotomy of Los Angeles' glossy veneer and its shadowy underbelly. He brings a kinetic energy to the night-time escapades, with neon lights and the city's luminescence painting a backdrop that feels both dreamlike and gritty. The use of shadows and light not only adds to the film's noir aesthetic but also symbolizes the characters' journey from ignorance to enlightenment.

Furthermore, the soundtrack- featuring the likes of B. B. King, The Four Tops and Marvin Gaye- complements the film astutely. The bluesy tunes underscore the film's themes of loneliness and the search for connection, while the more upbeat tracks accompany the film's action sequences, adding a layer of excitement to proceedings. Moreover, Ira Newborn's original score acts as an emotional guide for the audience, subtly influencing our perception of the characters' experiences and the stakes of their adventure.

The film stars Jeff Goldblum as Okin, alongside Michelle Pfeiffer as Diana. Portrayed with a weary charm by Goldblum, Okin is the quintessential everyman, lost in the ennui of modern life. His character's evolution from a passive observer to an active participant in his own story is relatable; and Goldblum pulls it off with ease. Pfeiffer's pitch perfect performance as Diana is the ideal foil to Okin's inertia. With her quick wit and captivating allure, she embodies the excitement and danger that he craves. Their dynamic is the driving force of the film, as each character finds in the other something they didn't realize they were missing.

The chemistry between Goldblum and Pfeiffer seems genuine, providing a grounding human element to the film's wilder comedic escapades. As they navigate the night's challenges, their interactions offer moments of connection, underscoring the film's exploration of loneliness and the human need for companionship. Additionally, the numerous supporting characters are each and all realized brilliantly. Paul Mazursky's performance as a sleazy director and Kathryn Harrold's as an actress friend of Diana's are the stand outs, as well as Richard Farnsworth's as a millionaire and David Bowie's as a mysterious hitman who- as in David Lynch's 'Twin Peaks: Fire Walk with Me'- is given too little screen time.

Despite its meandering narrative and a surplus of side characters, John Landis's 'Into the Night' is compelling, unpredictable and comedic. Its exploration of themes such as escapism and the search for meaning- paired with standout performances by Jeff Goldblum and Michelle Pfeiffer- make it an engaging, entertaining watch. Boasting fine cinematography from Robert Paynter, as well as a stirring score, it works on nearly every level, and surely is a night to remember.