Light Sleeper (1992)

Absolutely the worst movie.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

An old-fashioned movie made with new-fashioned finesse.

This movie feels like it was made purely to piss off people who want good shows

Screenwriter turned director Paul Schrader seems to be taken for granted when he helms his own projects. "Light Sleeper" is probably the filmmaker's most overlooked film (I had never even heard of it till I stumbled on it during one of my routine searches for new movies to watch) and was one of the director's most praised films thanks primarily due to the casting of and excellent performance of lead actor Willem Dafoe. The story (written by Schrader) revolves around a small-time drug courier, John LeTour (Dafoe) whose career is about to end with his boss's (Susan Sarandon) planned venture into cosmetics. When an old girlfriend (Dana Delany) comes to town for a family crisis, LeTour finds himself trying to find new meaning to his life and soon must evade danger when tragedy strikes. By far the film's best performance comes from its leading man. As John LeTour, Willem Dafoe plays the character as a straight-up good guy in a bad business who has lost sight of what he wants for himself. John hates his job despite a loyalty to his employer, Ann, and loathes the utter loneliness he finds himself in (expressed in diary entries delivered through voice-over). Dafoe deftly portrays a vulnerability to John as he wanders aimlessly through the city streets at night, silently contemplating what his life has come to and where is he supposed to go with his lifestyle being uprooted. His costar chemistry is subtle with both leading ladies; displaying an unrequited love for Dana Delany's character even though she is hesitant to rekindle their youthful feelings (sadly the relationship is doomed and a fling that was not to be). In his relationship with Susan Sarandon's Ann, Dafoe's LeTour is loyal despite his growing dislike for the drug dealing and Ann's planned new venture, but also harbors a secret affection for the woman who has given him employment (just watch their final exchange in the film's last scene) though at times John is angry with Ann for her plan that won't involve his services. The performance is so layered yet there is still so little we know about John's past before he became a drug courier, only privy to his past friendship with Dana Delany's character.The film's atmosphere is distinct within the world director Paul Schrader creates. Most of the action is set at nighttime as we follow our protagonist around the lonely city streets to his empty apartment; a bit of a metaphorical journey through the mind of John LeTour. Lighting is low from the streetlights along the streets to the mellow lighting of Ann's apartment that is decorated in red and the bright hotel and jailhouse lighting from the finale of the film. Only a select scene or two is set during daylight given the film's title is "Light Sleeper" which tells us of how little our main character sleeps or if John ever sleeps.

I was surprised to see this movie follow so closely the beats and phrases of American Gigolo in so many ways. SPOILER ALERT --- For Instance, the nice guy protagonist - feeling guilty about his profession, decides he has reached a moral high ground in his life and wants to change. As if by accident, he meets the woman capable of making him a changed man - in this case, it was an ex-wife. They rekindle their passions, only to find complications. Those complications, coupled with a homicide investigation (involving a client) makes life a living hell for our protagonist. In the end, both Gere and Defoe share that obligatory jail scene with their "loved one" claiming that they are "saved" by their love. Although the basic plot lines are similar, the movies are different in many ways. SLEEPER seemed to be less fleshed out in characterization. We never completely scratched the surface of the characters. All seemed to have more "submerged" beneath the surface than visible to the audience (which was frustrating) because we basically LIKE these people, even if they are Drug Dealers. Sarandon is superb in this movie - makes you wish she did more like this. But all in all, it mirrored American Gigolo so closely that by the time the final scene played out, I was laughing out loud at the obvious similarities to Gigolo. Not an homage - but a rip off, apparently.

Paul Schrader is a director whose films should be seen more often. He is a man that never compromises and tackles adult themes with great panache, as he has amply demonstrated throughout his distinguished career. He was long associated with Martin Scorsese, but when he decided to go on his own, he showed his talent was there all the time.Mr. Schrader's films have a sense of style that are not easily matched by many of today's filmmakers. He knows what seems to work, and what not. His movies show a sophistication, as we mere mortals, are invited to participate, even though we haven't received the invitation in the mail.Most comments in this forum are excellent, so we won't even attempt to add anything that hasn't been said before. "Light Sleeper" is supposed to be one of Mr. Schrader's favorite films, and it's clear to see why. He has infused the film with characters that are easy to see why they are portrayed on the screen. Willem Dafoe is obviously an actor held in high esteem by Mr. Schrader. As John LaTour, Mr. Dafoe is at his most introspective self. His character shows a complexity that is hard to match.The rest of the cast is excellent. Susan Sarandon is perfect as Ann. Dana Delaney is Marianne. Mary Beth Hurt, Victor Garber, Sam Rockwell, David Spade, are seen in supporting roles.The great atmospheric music of Michael Been is heard in the background and it helps add another layer in the texture of the finished product. Edward Lachman does an amazing job with the way he photographed the film that includes a lot of night time scenes in Manhattan.Take a look at the film, as Mr. Schrader will impress, even a casual viewer.

Hollow ManSpoilers herein.I particularly enjoy movies that are part of a series. That way, the context is even sharper than the usual genre and societal factors that come into play. Context is what movies are all about, and most particularly Schrader-written movies.In this case we have three films (`Taxi,` this, `Dead') about night prowlers in a corrupting city, all written by Schrader. Two have been directed by Scorsese and one by Schrader himself. Scorsese is by far the more competent director, but I like Schrader's approach better.Scorsese selects actors that are full of energy and encouraged to radiate. They become prime movers in the universe we see. The camera is attached to them, in `Taxi Driver' quite literally. As these guys move through the world, the energy of the world feeds back. This fullness of energy and exchange drives Scorsese projects. Cage in `Bring out the Dead.'That's despite the fact that what Schrader had in mind was something different. In every one of his scripts he creates a world that moves on its own and pulls energy out of his hapless hero (always a man, except when he tried it with his lover).The correct type of actor for this is one that can create negative energy, someone who visibly sucks life from outside forces. Scorsese cannot do this, but he came close with Dafoe in `Temptation.'The final scenes in `Temptation' are informed by Michelangelo's Pieta, an amazing statue of the slain Christ in Mary's lap. She is alive - all the forms of her face and body are constructed in such a way to contain her. Jesus on the other hand is more than simply desiccated. Every form in his being comes not from what is contained within, but what has been taken by the environment. He is defined by negative form. Not quite scallops and scoops, but their more subtle and devilish cousins.Dafoe pulled this off in spite of Scorsese's meddling. Schrader was there in Morroco and saw this, so commandeered Dafoe for this project. Here, Dafoe sucks energy from what surrounds him. His character doesn't understand why he is so jinxed, but he is. A locomotive of removal, a hollow man hollowing out the space around him.Sarandon is merely furniture, and does the job adequately. Her role is to give an excuse for talk about karma and akashic records. Delany needs be no more than one of the hapless lives caught in the vacuum.Ted's Evaluation -- 2 of 3: Has some interesting elements.