Dia Fatal

A crooked American businessman tries to push the shady influential owner of a nightclub in Newcastle, England to sell him the club. The club's new employee and the American's ex-lover (Melanie Griffith) fall in love and inadvertently stir the pot.

The production was initially a low-budget project funded by Channel 4 and British Screen. When the film attracted American financing, it was suggested that the film be recast with American actors. Both Melanie Griffith's and Tommy Lee Jones' careers were in a dip at the time, and they agreed to take parts at a lower fee. Griffith never fully recovered, though Jones still had bright years ahead of him. Interestingly, some people who auditioned but failed to make the cut were Tim Roth and Kyle MacLachlan. Ultimately, the film was financed for less than $2 million by Atlantic Entertainment Group, perhaps best known for "Valley Girl" or "Night of the Comet". This would be one of their final films.

The DP is the legendary Roger Deakins, who had worked with Figgis on his prior made-for-TV film "The House" (1984). Aside from the bigger names in the cast, it is Deakins who elevates the film from a low-budget independent to the big-looking film it is. The use of neon lighting and visual references to the classic paintings of Edward Hopper are evident. Allegedly, the Coen Brothers made Deakins their regular DP after seeing his work on "Stormy Monday". (As of 2017, Deakins has been nominated for 13 Oscars but has not yet won.)

Figgis is a musician, which explains his inclusion of so many musical situations. A jazz club is central to the plot, but it not just exists in the background... the music is very much an important part of the film, almost a character in itself. The soundtrack is some of the finest jazz and blues, and even the film's title is taken from a T-Bone Walker song, "Call It Stormy Monday (But Tuesday Is Just as Bad)", which plays over the credits.

Writer-director Mike Figgis continued to make films, though other than "Leaving Las Vegas" (1995) and possibly "Internal Affairs" (1990) he has never really been seen as an A-list director. Is it time for critics to start looking at his career again? With this release, cinephiles can get a better handle on a less-celebrated director.

The Arrow Video Blu-ray is not packed, but is comfortably filled with some bonus material. We have a very informative audio commentary with Mike Figgis, moderated by critic Damon Wise. The commentary humorously mentions how Christopher Walken was in the running for the Jones role, but he was too terrifying. There is a new video appreciation by critic Neil Young, including a "then and now" tour of the film's Newcastle locations (33 minutes). This is a must-see, putting the film in the proper context of the geography, time period (including the 1970 corruption trial of mayor T. Dan Smith) and its relation to the Mike Hodges' film "Get Carter" (1971).

Brendan (Sean Bean) gets a job at a jazz club working for Finney (Sting) in England. Corrupt Texan businessman Francis Cosmo (Tommy Lee Jones) recruits escort Kate (Melanie Griffith) for a mysterious job. He arrives in town trying to buy up the area including the club. Brendan starts going out with Kate who is a waitress at a restaurant. Finney turns out to have a darker side with a criminal past.

The first half is a bit of a muddle keeping some central mysteries. It does go down some good dark noir alleys. There is plenty of jazzy brass music. It's rainy and moody. I guess the plot can be seen as a bit jazzy. These are interesting characters. I would like the story to be clearer.

I have seen this film a few times since it came out more than ten years ago. I think it is seriously underrated. It has a great Jazz soundtrack written by Mike Figgis, the director (who went on to make Leaving Las Vegas). A brilliant cast: Sean Bean, Melanie Griffith, Tommy Lee Jones and Sting. It has a film noir feel throughout that fits the post-industrial Newcastle setting very well (lots of great location shots BTW). Last of all, the beautifully paced editing, which is just icing on the cake.

I can't help but notice that this film is not polling too well at the moment (averaging 6.5 out of 10.0), perhaps it's the slightly anti-American subtext?

While I didn't notice any direct references to this film in Lock, Stock and Two Smoking Barrels (apart from Sting doing an above average acting job in both of them). I think they would make a great double feature.

Worth it for the soundtrack alone : 9/10.

I really enjoyed this movie. I'm a big fan of film, but more than that, I'm a fan of actors. Strong acting, as far as I'm concerned, can redeem even the worst of movies (under the right circumstances) - and it's wonderful when the film itself is already good.

Such is the case with Stormy Monday, the directorial debut of Mike Figgis (who would later have great success with Leaving Las Vegas). The casting seems somewhat unusual, but in the end is quite effective. I have never been a big fan of either Melanie Griffith or Sting, and by contrast, have always enjoyed Tommy Lee Jones and Sean Bean, so I was unsure of what to expect. But all four impressed me greatly with their performances. This is a film which requires the use of one's senses - we see the hopeful expressions on Griffith's and Bean's faces when they meet for the first time; we hear the frustration in the voice of Jones' crooked businessman when he can't seem to get his way, and the resolve in the voice of Sting's jazz club owner when he refuses to give in to Jones.

The cinematography (by the excellent Roger Deakins) is classic film noir, and when combined with the wonderful jazz soundtrack, creates a moody atmosphere not often seen in 80's cinema. Overall, this is a success - dark, atmospheric, and absorbing, an actor's showcase and a film enthusiast's smorgasbord. There should be more like this one!

These days a romantic thriller usually means sex, violence, and lots of neon lights, but underneath the typically sultry mood of this latter-day film noir there's a cool intelligence at work. Writer director Mike Figgis combines several strands of plot which otherwise have little in common, involving a moody nightclub owner, a dangerous American entrepreneur, his part-time mistress, and her new, younger boyfriend, all of them in an industrial British seaport dressed up for a hands-across-the-water civic promotion. A movie so self-absorbed with mood and imagery shouldn't work as well as this, but what sets the film apart from other neo-noir facsimiles is the unusual trans-Atlantic blend of talent and the emphasis on cross-cultural confusion, best expressed by a free-jazz rendition (by the Krakow Jazz Ensemble) of the Star Spangled Banner. The atmospheric visual style isn't enough to camouflage the shortcomings of the script, but Figgis maintains the drama at an admirably low-key level, and the location photography in the city of Newcastle takes excellent advantage of an appropriately gritty urban environment.