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Light Sleeper (1992)

 -  Crime | Drama  -  13 March 1992 (UK)
6.7
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Ratings: 6.7/10 from 3,049 users  
Reviews: 38 user | 16 critic

A drug dealer with upscale clientele is having moral problems going about his daily deliveries. A reformed addict, he has never gotten over the wife that left him, and the couple that use ... See full summary »

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Title: Light Sleeper (1992)

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2 wins & 5 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
Ann
...
Marianne Jost
...
Robert
...
Teresa Aranow
...
Tis Brooke
...
Randi Jost
Paul Jabara ...
Eddie
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Bill Guidone
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Jealous
...
Manuel
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Theological Cokehead
Steven Posen ...
Hasid
Ken Ladd ...
Carlos
Brian Judge ...
Thomas
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Storyline

A drug dealer with upscale clientele is having moral problems going about his daily deliveries. A reformed addict, he has never gotten over the wife that left him, and the couple that use him for deliveries worry about his mental well-being and his effectiveness at his job. Meanwhile someone is killing women in apparently drug-related incidents. Written by Ed Sutton <esutton@mindspring.com>

Plot Summary | Add Synopsis

Taglines:

A story about the discovery of the spirit, the Lure of Decadence, and the Chance for Escape. [Australia theatrical] See more »

Genres:

Crime | Drama

Motion Picture Rating (MPAA)

Rated R for strong language and drug content, and for violence and a scene of sensuality | See all certifications »
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Details

Country:

Language:

Release Date:

13 March 1992 (UK)  »

Also Known As:

Könnyű altató  »

Box Office

Budget:

$5,000,000 (estimated)

Gross:

$1,100,000 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Writer-director Paul Schrader experienced a unique problem while filming was underway in New York City. The film is set during a sanitation worker strike which called for large amounts of uncollected trash to be prominently featured in exterior scenes. But since the real New York City sanitation department was very much on the job they would inadvertently collect trash that was meant to be a part of the film's production design. See more »

Quotes

Ann: Well, that took you long enough. What'd you do, douche while you were at it?
John: Ann, you've got some mouth on ya.
Ann: You don't wanna know where it's been.
See more »

Connections

References Pickpocket (1959) See more »

Soundtracks

24-7-365
(Agami / Belmaati / Christiansen / Moller)
© 1991 Megasong Publishing, Denmark
Performed by Wizdom-N-Motion
Courtesy of Mega Records, Denmark © 1991
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User Reviews

 
Schrader's Finest Film
6 November 2001 | by (Manchester, England) – See all my reviews

Paul Schrader's finest film to date, and firmly lodged in my top 10, this is a surprisingly overlooked and underrated gem. Often touted as a "modern noir" movie, I really don't consider it in that genre at all.

The heart of the film is a reworking of the themes embodied in Schrader's earlier film "American Gigolo", where a man is forced to confront the fact that the life he is leading is fundamentally unsatisfying, reassess what he wants to do, find out who his real friends are and ultimately get redeemed through love.

Willem Dafoe's character Le Tour's journey is a slow but inevitable one, as his drug-dealing days are numbered due to his boss Susan Sarandon (also splendid) "going straight". Most of the scenes take place at night (hence the noir tag), but this is partly a consequence of the drug-dealing aspect and partly to capture the unreal mood of a man who doesn't know where he fits in to "normal" life. The device whereby Le Tour spends many hours writing his thoughts in an exercise book, throwing it away when he fills it, then starting another one, is so strong and startling that I put aside my usual dislike of narration. The soundtrack is also excellent and fits and expands the mood very well.

The best scene is probably the one in the hospital cafeteria, where Le Tour has a conversation with his ex-girlfriend that he hasn't seen for a long time - immaculately acted, tremendously understated with so many things going unsaid... The final scene, although Schrader nicked it from a French film, and used it before in "Gigolo", is still very powerful, based on the idea that whether a man is in prison or not is completely unrelated to whether he is free.


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