Mala noche

There are few gay, or straight, films which fling such disturbed and desperate lead characters into the sparkly gutter like Mala Noche. That summary is trite at best, but to watch this movie is to fall into a film noir which won't give you any love back. Excellent and gobsmackingly short-ish cash register rings of warning. Don't embrace these sickly, nasty characters, but do get enveloped. You can't help it. Everyone sucks, everyone is dirty, nasty, and sadly dreamy. Gus made a gorgeous pile of human stink with this one, and it is completely addictive. Fabulous film. Gus Van Sant may have jumped the shark with some later stuff, but this, boy, this is good. Fans of grit say: Must see.

No budget film about a young man heavily attracted to some Mexican teenagers in Portland OR in 1977.

The film is in black & white, the sound is (at times) incomprehensible and some of the acting is pretty bad. Also it has more than it's share of boring moments and no real ending. Still, it sticks with you.

I originally saw the film in 1990 at a film festival. I was very impressed but it wasn't available in any form. A lot of the scenes were still fresh in my mind and the acting by Tim Streeter was superb. It was until this year (2002), that I was able to see it again and that's only because the director allowed his own private print to be shown.

I still liked it a lot, but I had forgotten how bad the actors playing Mexicans were, and that there was really no ending. Still, the direction is great (very impressive considering the lack of budget) and , when it worked, it was fascinating. However it is very bleak and the subject matter may bother some people. Well worth catching...if you can.

MALA NOCHE is a low budget, grainy black and white film from 1986 by the estimable director Gus Van Sant and has been considered important enough to include in The Criterion Collection. While it is based on a true story by Portland writer Walt Curtis, Van Sant is responsible for the screen play as well as the direction and editing of this little film. It may not be a polished gem, but it has many of the ingredients and honesty that have subsequently made Gus Van Sant one of our more important film director (Drugstore Cowboy, My Own Private Idaho, Finding Forrester, Milk, To Die For, Good Will Hunting, etc). It deserves its placement in the Criterion Collection.

The scenario is simple: Walt (Tim Streeter) is a convenience store worker who becomes infatuated with illegal immigrant Johnny (Doug Cooeyate) and his friend Pepper (Ray Monge) who have just arrived by rail in Portland. The setting is sensual and Walt manages to satisfy his desires with the emotionally needy and impecunious Johnny. It is a fit for them both, though Walt seeks to make the relationship go deeper than the superficial physical encounters. It is a push pull situation and the beauty of the film is the manner in which Van Sant manages to allow us to see both sides of the story. John J. Campbell provides the steamy, crackling photography and Creighton Lindsay heightens the mood with his musical score. It is early Van Sant but it is a solid little start.

Grady Harp

I was fortunate enough to see this at the Sydney Film festival. I am a fan of Van Sants, having seen all his stuff and read his fiction- and I've always wondered if I would ever see this curiosity of a film. And what I expected to be nothing more than a real fledgeling of a film, with only a glimmer of the Van Sant that attracts many to his work- was in actuality a stunning, fully sustained episodic and tender Ka-pow! that was wonderfully made and full of all the visual tricks and flair that makes Van Sants movies so idiosyncratic and so ... well him. This was the biggest delight for me about it. I expected, simply because it is so hard to find and that it has no DVD release that it would be a mere trifle of a film. But it is anything but.

I was moved, all the acting was top-notch. The main character was likeably deluded, such a victim of his own desire it was funny and warming at the same time. The Black and White and evident grain in occasional sound inconsistencies actually work for it; it helps draw the detail out of the locale and its people in a manner very reminiscent of Van Sants Idaho and Drugstore Cowboy.

There are moments of confusion, of randomness, of erotica and tragedy. The music is wonderful, every camera angle delicately crafted, but never contrived or pretentious- full of humour and warmth.

What a joy this film was and to me, seriously one of Van Sants best. Maybe its because I'm a gay man and with the exclusion of his Paris Je Teme segment, and elements of My Own Private Idaho, this is his only overtly gay story. And it plays real, with an almost documentary like realism (for example the scenes of language barriers between the the main protagonist and Pepper)- but then again its almost as theatrical as opera, playing it broad and surreal.

I cant praise it highly enough. A real surprise, a delight. I hope it gets seen.

In the summary, the word "fools" should more accurately be another English word with four letters, but I doubt whether the regulations for this site will permit that. That is the subtitle for this movie and it does tell one side of the story. Another side involves the randomness of life in Portland, a city that's more like an overgrown small town with a big seamy underbelly and lots of folks eking out an existence on the margins. This movie shows with subtly limned images and snatches of wry, realistic dialogue just how vast and differentiated the landscape of "the margins" is in this town. And maybe, too, in that weird district of the Twilight Zone known as America.

Twilight is a state of mind that provides the true setting for this story that seems to be a fragment of a greater whole, but nevertheless has its own peculiar beauty. The black and white photography is stunning and seductive, and perfect for the film noir desperation (occasionally melodramatic but never posturing) with which these characters seem to run their lives. The director uses chiaroscuro, the play of light and shadow over the faces and bodies of his players, to hint at people's emotions or to suggest the cluelessness with which they get through the day. Despite the sense of general confusion, there are poignant and powerful emotions that surface here, thanks to the skillfully nuanced photography and the expressiveness of the actors.

The casting is perfect, but among the actors only Tim Streeter really seems to give a coherently thought-through performance. Streeter, to judge from his performance here, is an actor of brilliance and considerable sensitivity--it's sad that his only other credit is a 1987 appearance on 21 Jump Street. A lot of the shots in the movie are composed with great inventiveness, but the visual beauty that results never feels arty or contrived, mainly because of the gritty realities that encompass the characters' lives and passions.

Certain scenes in this movie made me think of images that surface in the songs of indie bard Elliott Smith, whose music was used in Gus van Sant's much glitzier mainstream movie, Good Will Hunting. Images of lonely people smoking late nights away over cheap beers in loud bars, waiting for their sense of woundedness to dull sufficiently so that they can go back out on the street and face some semblance of life again. The use of music is yet another element that gives Mala Noche a distinctive flavor--the music credits cover several screens at the end of the movie--as one would expect with a director who is also a composer and musician in his own right.

Poetic, frail, fragmentary and haunting, this is one of those movies where, even if you never quite get the story, certain images from it will nevertheless linger a long time in your memory after you have seen it.