A self-styled New York hipster is paid a surprise visit by his younger cousin from Budapest. From initial hostility and indifference a small degree of affection grows between the two. Along... See full summary »
Elisabeth leaves her abusive and drunken husband Rolf, she packs her bags, takes the kids and goes to her brother Göran. The year is 1975 and Göran lives in a commune called Together. ... See full summary »
With only the plan of moving in together after high school, two unusually devious friends seek direction in life. As a mere gag, they respond to a man's newspaper ad for a date, only to find it will greatly complicate their lives.
The plot of this movie, like smoke itself, drifts and swirls ethereally. Characters and subplots are deftly woven into a tapestry of stories and pictures which only slowly emerges to our view. This film tries to convince us that reality doesn't matter so much as aesthetic satisfaction. In Auggie's New York smoke shop, day by day passes, seemingly unchanging until he teaches us to notice the little details of life. Paul Benjamin, a disheartened and broken writer, has a brush with death that is pivotal and sets up an unlikely series of events that afford him a novel glimpse into the life on the street which he saw, but did not truly perceive, every day. Finally, it's Auggie's turn to spin a tale.... Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
The name of William Hurt's character, Paul Benjamin, is a reference to writer Paul Auster whose second forename is Benjamin: Paul Benjamin Auster. See more »
Auggie takes his daily picture from a typical tripod, below shoulder level. Yet the photos in his album are taken from eye-level position or higher. In fact, the alignment of the traffic signal and the building behind it is so consistent from picture to picture, that they were most likely taken from a fixed mount. See more »
Every once in a while, a film comes down the pike that is so refreshing, so rich, you'd swear it was inspired by some immortal spirit who condescended to take human form in order to share her perspective with us. Smoke is one such film.
Although there's nothing particularly special about each of several main characters, seemingly picked at random off of a New York street corner, they come off as noble, even heroic, in spite of the fact that their collective problems amount to nothing more than the usual garden variety. The main character, for example (Auggie Wren, played by Harvey Keitel) is a tobacconist around whose shop the main characters revolve. He has an unusual habit: every morning, at the same time of the day, he photographs the same street corner, and puts the pictures together in a series of albums. It's time-lapse photography on an enormous scale. He can't explain why he does it. He just needs to do it. And it's a really marvelous device for delivering the movie's main theme: everything that matters, all the meaning in the world that can be condensed from holy books and vows and catechisms and poems, is right there before us. We just need to have the eyes to see it. The things we tend to dismiss as prosaic, out of familiarity, emerge from the pages of his album as special, wonderful, enchanted.
There's a great line in the movie about how Sir Walter Raleigh measured the weight of smoke. He took a cigar, weighed it, smoked it, and weighed the ash. The difference between the cigar and the ash was the weight of the smoke. Although he new nothing of the chemistry of combustion, he did the best that he could, based upon what he knew. Likewise, Smoke is a movie about people with limited knowledge and perspective. Their assumptions are often wrong; but, they do the best that they can. A small, seemingly insignificant piece of information can, and does, change everything.
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