After Hours

After Hours ★★★★★

Maybe I'll never understand why this such soo much great film by Martin Scorsese isn't better recognized or put in higher rankings as one of his best films. Of course, this may also seem to require too much from a director who has one of the strongest filmographies of all time, but "After Hours" is able to stand out so strongly in the midst of so many other excelent films for its living spirit, its playful malice that has fun in delivering the unexpected to its audience and have fun, almost sadistically, with the suffering of its protagonist and his misadventures that will lead him here on the longest night of his life.

Perhaps this is the closest that we might ever see Scorsese come to adapt a work of Kafka, where the conflicts are unexpected and confusing for both its protagonist and its audience, but which become almost a test, of how willing is this individual to escape reality to save his humanity, scratching the brink of insanity, but never losing his sense of humor.

And Scorsese dosen't spare any energy, and directs every corner and edge of his film with a neat and precise dedication. Cladding his film with an uncontrollable frenetic pace without pauses and the mise-en-scene shines as he builds the shady neighborhoods of New York in a way that is always highly palpable. Playing with the illustrious editing of Thelma Schoonmaker and an always great cinematography from Michael Ballhaus, as if they were his oldest precious toys, knowing to handle them always with total control and to get the best of each and every moment where the film ventures in the misadventures of the poor, poor character of Paul Hackett of an excellent Griffin Dunne.

Where the insane journey of his character becomes not only an escape for his poor and miserable existence, but also an odyssey through characters as solitary and in existential crisis as he, just about to become as disturbed as they when facing the dangerous Nightlife. And that at least guarantees some great performances from two also excellent Rosanna Arquette and Teri Garr.

Where all this here it solidifies and forms one of Scorsese's most absurdly entertaining films, which not only prove, as always, his superb directing work, but also demonstrate his acid cynical and sadistic side in dealing with a life-and-death experience that It brings out genuine laughter from start to finish, and delivers dark questions about our poor existence. At least a smile at the end is inevitable, Scorsese was already craking up laughing by them!

Raphael Georg liked these reviews