Several lost-soul night-owls, including a nightclub owner, a talkback radio relationships counseller, and an itinerant stranger have encounters that expose their contradictions and ... See full summary »
Lesley Ann Warren
An impoverished woman who has been forced to choose between a privileged life with her wealthy aunt and her journalist lover, befriends an American heiress. When she discovers the heiress is attracted to her own lover and is dying, she sees a chance to have both the privileged life she cannot give up and the lover she cannot live without.
Helena Bonham Carter,
A white middle class South African suburbanite with no interest in politics agrees to help his black gardener find his jailed son. His investigation opens his eyes to the horrors committed by the secret police and turns him into a target.
Mary Rutledge arrives from the east, finds her fiance dead, and goes to work at the roulette wheel of Louis Charnalis' Bella Donna, a rowdy gambling house in San Francisco in the 1850s. She... See full summary »
Edward G. Robinson,
Two families are unhappy with their respective relationships: first of ambitious businessman Jeffrey Byron and sexually frustrated Marianne and second of repair contractor Lucky Mann and former B-movie actress Phyllis. When Lucky arrives to Byron's apartment to make some minor repair and Marianne becomes obsessed with him, the everyday balance breaks.Written by
Music by Gilbert Bécaud
Lyrics by Pierre Delanoë
Performed by Gilbert Bécaud
Published by Editions Redeau Rouge/BMG Music Publishing, France
Administered in U.S. by BMG Songs, Inc.
Courtesy of Capitol Records under license from EMI-Capitol Music
Special Markets See more »
Calling Alan Rudolph an acquired taste is like calling CASABLANCA just a WWII film; it doesn't even begin to tell the story. I happen to like his films when they don't star Keith Carradine (whom I don't like), but can see why others don't. In a Rudolph film, plot is less important than mood and texture, and there really isn't much of a plot in this film, it's pretty much all mood and texture. The dialogue he writes is also right out of the 30's and 40's (a friend once said Rudolph films are what would happen in Bogart ended up in a Fred Astaire movie).
In this movie, the dialogue sometimes falls flat, and some of the tone shifts are jarring. In addition, Miller's character is a complete lout; we hardly understand why Boyle, let alone Christie, would even bother with him. And Boyle had a character to play in Rudolph's EQUINOX, but here, she just flails around.
Nevertheless, this is a good movie, and that's partly because of the romantic pull Rudolph does achieve, and because of the performances of Nick Nolte and Julie Christie. Although both of them are playing characters past their prime, Rudolph films them like old movie stars would be filmed, and matches his tempo to their performances, which are relaxed and confident (which contrasts to Boyle and Miller, whose discomfort is obvious). Critics up here noted this was one of the few, if not the only, U.S. films filmed in Canada (Montreal) that actually took place there.
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