Wayne Wang's follow-up movie to Smoke (1995) presents a series of improvisational situations strung together to form a pastiche of Brooklyn's diverse ethnicity, offbeat humor, and essential...
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In 1927, in Kingdom County, Vermont, a large dam is to be built, however, Noel Lord, a logger and cedar-oil harvester, won't give up his lifetime lease on land that will be flooded. The dam... See full summary »
Internationally acclaimed novelist Paul Auster ("New York Trilogy", "The Book of Illusions", "Man in the Dark") explores the art of writing in the darkly comical THE INNER LIFE OF MARTIN ... See full summary »
Wayne Wang's follow-up movie to Smoke (1995) presents a series of improvisational situations strung together to form a pastiche of Brooklyn's diverse ethnicity, offbeat humor, and essential humanity. Many of the same characters inhabiting Auggie Wren's Brooklyn Cigar Store in Smoke (1995) return here to expound on their philosophy of smoking, relationships, baseball, New York City, and Belgian Waffles. Most of all, this is a movie about living life, off-the-cuff.Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
The scene with Giancarlo Esposito, Stephen Gevedon, José Zúñiga, and Malik Yoba took all day to film. The extremely hot temperature, combined with the lack of a script, made it difficult for the actors and actresses to improvise a good scene. After many takes, Harvey Keitel secretly told Peggy Gormley to slap Gevedon in the scene to garner an energetic reaction. That take is used in the film. But the long day took a toll on Director Wayne Wang, who was suffering from bronchitis, so Paul Auster stepped in as director for the next two days. See more »
Dot bolts the store door to talk with Auggie, then leaves without unlocking it. See more »
I don't eat shit. It's against my religion.
What religion is that?
The religion of sanity, Peter. You should try it some time.
I did, but I was excommunicated.
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Situations Created in collaboration with THE ACTORS See more »
A romantic view of Brooklyn, excellent improvisation.
Blue in the face might be boring to many because it doesn't follow a standard hollywood paradigm of rising action, climax, resolve. It is more documentary style, although fictitious, and quickly jumps from story to story and character to character. The editing is an interesting component because it successfully brings together disparate themes and characters (who are improvising their lines and stories to some degree). This and some fantastical elements provide a very romanticized view of Brooklyn. Altogether a cohesive piece with some nice performances and some insight into what it is to growup and live in a special loved place.
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