A meek word processor impulsively travels to Manhattan's Soho District to date an attractive but apparently disturbed young woman and finds himself trapped there in a nightmarishly surreal vortex of improbable coincidences and farcical circumstances. Written by
Scorsese designed the film as a parody of Hitchcock's style. The elaborate camera movements echo sequences in Marnie (1964), while Howard Shore's score emulates the style of one of Hitchcock's most frequent collaborators, Bernard Herrmann. See more »
When Neil and Pepe emerge from June's underground apartment, a street sign directly behind them says Spring St. According to Kiki, Club Berlin is on the corner of West Broadway and Grand, several blocks south of Spring. See more »
[Paul and Lloyd in front of a computer terminal]
Alright, punch. Punch it in.
Okay, let's, first of all, refresh the screen here. Alright, and go into "format ruler".
[Lloyd punches at the keyboard]
All right. Now, file?
[presses a key]
[...] See more »
The closing credits are displayed over a moving shot of Paul's office, during which more and more employees show up for work. When the camera passes Paul's desk again, he has disappeared. See more »
Martin Scorsese's After Hours is so unique and interwoven that repeat viewings are almost required. The film is completely over the top in every respect, but that is part of what makes it so compelling. Funny, smart, and imaginative.
Griffin Dunne is brilliant.
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