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Shadows and Fog (1991)

 -  Comedy | Crime | Drama  -  20 March 1992 (USA)
6.8
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Ratings: 6.8/10 from 11,308 users  
Reviews: 72 user | 35 critic

With a serial strangler on the loose, a bookkeeper wanders around town searching for the vigilante group intent on catching the killer.

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Title: Shadows and Fog (1991)

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Cast

Cast overview, first billed only:
Michael Kirby ...
Killer
...
...
Hacker
...
Vigilante
...
Vigilante
...
Vigilante (as Daniel Von Bargen)
Camille Saviola ...
Landlady
Tim Loomis ...
Katy Dierlam ...
Fat Lady
...
...
Clown
...
Marie
Dennis Vestunis ...
Strongman
...
Doctor
...
Prostitute
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Storyline

A small and insignificant bookkeeper, Kleinman, is awoken one night by his neighbors who wants his help to track down a strangler who has been killing people all over town. The citizens form vigilance committees, but when Kleinman has dressed, his neighbors have disappeared. Meanwhile a circus has come to town. Irmy and Paul are two of the artists. After a fight, Irmy leaves the circus in the middle of the night. Eventually she meets Kleinman, scared and alone. Written by Mattias Thuresson

Plot Summary | Plot Synopsis


Certificate:

PG-13 | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

20 March 1992 (USA)  »

Also Known As:

Sombras y niebla  »

Box Office

Budget:

$14,000,000 (estimated)

Gross:

$2,735,731 (USA)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

As this Woody Allen film was going to be more expensive than one of his usual movies with the large cost of the set constructions, studio Orion Pictures mandated that Allen would need to also appear in the film himself to assist the picture with being bankable. See more »

Quotes

[first lines]
Hacker: Kleinman, Kleinman, open up! Kleinman! We know you're in there!
See more »

Connections

Featured in Woody Allen: A Documentary (2012) See more »

Soundtracks

Moritat from the Three Penny Opera
(1928)
By Kurt Weill and Bertolt Brecht
Performed by Berlin Staatsoper
Conducted by Otto Klemperer
Courtesy of Delta Music, Inc.
See more »

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User Reviews

 
Style Over Substance
21 April 2005 | by (United States) – See all my reviews

Woody Allen's tribute to German expressionism is better than most critics would have you believe. Sure there is very little plot to speak of, it's more a series of vignettes and gags than a cohesive narrative. Sure, it ends rather abruptly, never solving the mystery, but none of this stopped my thorough enjoyment of this film.

As the title suggests the entire movie is designed in shadows and fog. Shot with beautiful black and white photography, Allen and cinematographer Carlo Di Palma create the look and feel of an unnamed East European city as seen in such films as M and Nosferatu. The lighting is set up so that in nearly every shot underlying shadows engulf the scene. In the exteriors a vicious fog rolls across the night sky obscuring most details. Through the fog bumbles Kleinman (Allen is his typical neurotic schmuck role) trying to find his role in a vigilante mob's plan to stop a serial killer roaming the streets. From dark night until dawn, Kleinman wanders from place to place meeting a wide variety of curious characters (played by an even more curious group of celebrities), the most endearing of which is a desperate sword swallower (Mia Farrow)who is has wandered into a brothel after fleeing her cheating boyfriend/clown (John Malcovich).

It is a little unsettling to watch Allen do his normal schtick while the characters around him are murdered, subjected to racial prejudice, beaten by the police and discuss such subjects as love, sex, and meaning. There is a subtext involving the plight of the Jews between the World Wars, foreshadowing the Nazis. Yet the gags remain as solid as any Woody Allen film. Amongst the seriousness of his subtext and the films he is paying homage to, Allen finds away to bring full bellied laughter. Though his quirky neurosis isn't as resolutely hilarious as it is in such films as Annie Hall, it is still enough to fill the film with mirth.

The film ends rather abruptly with Kleinman having never learned his role in the plan, nor the killer having been caught. Yet as the credits role we realize the mystery was not so much the reason behind the story as method in creating it.


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