A portrait of a fictional town in the mid west that is home to a group of idiosyncratic and slightly neurotic characters. Dwayne Hoover is a wealthy car dealer-ship owner that's on the ... See full summary »
Loosely based on the actual WWI Christmas cease fire between German and English troops. The two sides met halfway across the battlefield and sang silent night and played soccer. Each year the two countries re-enact the game in tribute.
A surreal portrait of a Catholic Private School and its hierarchy. A new student must submit to the bizarre rituals of his peers and the expectations of the school's administration by ... See full summary »
Lucienne Delamare and Pierre Maury are having an affair. Lucienne's husband Paul is the mayor, and a French deputy. Pierre's wife Clotilde has been weak and sickly for years. Lucienne's ... See full summary »
The year was 2081 and everybody was finally equal. Nobody was smarter than anybody else. Nobody was better looking than anybody else. Nobody was stronger than anybody else, quicker than ... See full summary »
Howard W. Campbell, Jr., an American expatriate playwright, Nazi radio propagandist, and Allied spy, writes his memoirs during his pre-trial confinement in 1961 Haifa and learns that people are what they pretend to be. Written by
Erik Gregersen <firstname.lastname@example.org>
The character Howard W. Campbell Jr. is used by Kurt Vonnegut Jr. in the novel Slaughterhouse Five, and makes an appearance in the movie of the same name, although in reference to a part of Campbell's life not included in the film version of Mother Night. See more »
Composed by Arvo Pärt
Performed by Gidon Kremer, Tatiana Grindenko and 'Alfred Shnitke' (as Alfred Schnittke)
ECM New Series 1275
Courtesy of ECM Records
Used by arrangement with European America Music Dist. Corp., Agent for Universal Edition Vienna,
publisher and copyright holder See more »
Wartime Allied undercover operative suffers the consequences of his deception, in the process discovering something about himself and about justice.
It's so rare to find a literary work adequately translated to the screen that I may have rated this film higher than it deserves, but not by much. As a long-time student of Vonnegut's works, I have no hesitation in recommending the film to his readers, at least to those that love him as I do. The casting is inspired: Nolte is understated in triumph, bewildered in defeat, decisive in judgment. Sheryl Lee is luscious throughout, but her handling of the treacherous Resi and her tragic crescendo almost makes you forget her beauty. Alan Arkin delivers a totally lovable, but equally treacherous, Soviet spy.
Do not feel you have to read Mother Night to appreciate the film; though, if you haven't read Mother Night, you will probably want to after viewing the film.
Notice the shifts from color to black-and-white and back again, and don't miss the final symbolism of Campbell's noose. Watch, also, for Kurt Vonnegut's cameo near the end of the film.
Bing Crosby's "White Christmas" will never sound the same (I write in mid-December, when the song is getting heavy radio play, and it's driving me nuts).
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