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Shadows and Fog (1991)

PG-13 | | Comedy | 20 March 1992 (USA)
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1:40 | Clip

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

Director:

Woody Allen

Writer:

Woody Allen
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1 win & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Michael Kirby ... Killer
Woody Allen ... Kleinman
David Ogden Stiers ... Hacker
James Rebhorn ... Vigilante
Victor Argo ... Vigilante
Daniel von Bargen ... Vigilante (as Daniel Von Bargen)
Camille Saviola Camille Saviola ... Landlady
Tim Loomis Tim Loomis ... Dwarf
Katy Dierlam Katy Dierlam ... Fat Lady
Mia Farrow ... Irmy
John Malkovich ... Clown
Madonna ... Marie
Dennis Vestunis Dennis Vestunis ... Strongman
Donald Pleasence ... Doctor
Lily Tomlin ... 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

Genres:

Comedy

Certificate:

PG-13 | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

20 March 1992 (USA) See more »

Also Known As:

Sombras y niebla See more »

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Box Office

Budget:

$14,000,000 (estimated)

Opening Weekend USA:

$1,111,314, 20 March 1992, Limited Release

Gross USA:

$2,735,731
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby SR

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

According to the TCMDb, the film was "originally scheduled for release in United Kingdom October 23, 1992, but pushed back to 1993 to make way for Allen's controversial Husbands and Wives (1992) (USA/1992)". See more »

Quotes

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

Connections

Referenced in Cinemania (2002) See more »

Soundtracks

Ja, Ja die Frau'n sind meine schwache Seite
By Kurt Schwabach (as K. Schwebach) & Augustin Egen (as A. Egen)
Performed by Jack Hylton and His Orchestra (as The Jack Hylton Orchestra)
Courtesy of Capitol Records, Inc.
By Arrangement with CEMA Special Markets
See more »

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User Reviews

 
Style Over Substance
21 April 2005 | by MatBrewsterSee 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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