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
The first thirty minutes of the film are based on radio artist Joe Frank's 1982 N.P.R. Playhouse monologue "Lies". Some of the dialogue and plot elements in the film are lifted verbatim from the program, including Paul meeting Marcy in the deli, the bagels-and-cream-cheese paperweights, Paul calling Marcy that same night to buy the paperweights, Paul losing his cab fare when it flies out of the window, Marcy being raped by a former boyfriend who came down the fire escape and falling asleep during said rape, Marcy being married to a man working overseas whom she writes to every day, and said husband's sexual quirk. Joe Frank filed a lawsuit against the producers and was then paid handsomely in a settlement. See more »
When Paul asks June to join him for a drink, he begins to approach her table walking towards his right. But as the scene switches, he's then suddenly walking in the opposite direction towards his left. 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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