A story of amour fou. Walt is madly in love/lust with a young illegal Mexican immigrant. However, the object of his unrequited affection doesn't even speak any English and finds Walt really... See full summary »
Sissy Hankshaw is born with enormous thumbs that help her hitchhiking through the US from a young age. She becomes a model in advertising and her NY agent 'the Countess' sends her to his ... See full summary »
A story of amour fou. Walt is madly in love/lust with a young illegal Mexican immigrant. However, the object of his unrequited affection doesn't even speak any English and finds Walt really strange and undesirable. Written by
Cristian Redferne <email@example.com>
Working in the store Sunday all day, I want to drink this Mexican boy Johnny Alonzo from L.A. near Riverside. He makes my heart throb - thumpety, bum, bum, bum, bum, bum - when I see him.
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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.
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