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Posts Tagged ‘Into the Night’

Looking ahead to the biggest films of the summer, it’s a fair bet that the latest iteration of Jurassic Park (which appears to focus on people fleeing from dinosaurs and a volcano) will be somewhere near the top of the list. On board for this latest excursion into peril-based running is one of the original cast, Jeff Goldblum, reprising his role as the wacky mathematician. I wonder if there is any correlation between who is fronting a Jurassic Park film and the actual quality of the movie? I always felt that of the original three, the ones with Sam Neill were rather better than the one headed up by Jeff Goldblum (although I suspect Goldblum will be in the heritage cameo slot this year, with Chris Pratt once again doing most of the heavy lifting, heroically speaking).

I mean, I like Jeff Goldblum a lot, and I know that if he’s in a movie then I’m going to enjoy his bits if nothing else. The fact that he seems to be enjoying a bit of a profile spike at the moment (Isle of Dogs, Ragnarok, and the new Jurassic Park) is great. As a movie veteran, he has developed into a great character performer; but looking back at his career one can’t help wondering if he was ever quite cut out to be a leading man in the conventional sense.

Recently making an appearance on the local version of a world-conquering streaming site was John Landis’ 1985 film Into the Night, a black comedy which was really Jeff Goldblum’s first leading role. Exactly what genre (or subgenre) this film belongs to is a curious matter we will return to shortly; suffice to say that it seems to me to be a quintessentially 80s movie.

Goldblum plays Ed Okin, a disaffected executive at an aerospace engineering company in Los Angeles. He is suffering from severe insomnia, which causes his work to suffer, and this in turn results in him discovering his wife is having an affair. Shocked and uncertain, he finds himself driving out to the airport around midnight, perhaps contemplating flying off to parts unknown. He arrives there just in time to meet Diana (Michelle Pfeiffer), a young woman-on-the-make who’s just returned from Europe. The guy meeting Diana is killed by a quartet of hoodlums of Middle Eastern origin, and they seem intent on taking a similar interest in her. Needless to say she hurls herself into Ed’s car and begs that he drive her out of there.

Ed, naturally, has no idea what’s going on, and just wants to conclude their association and go home (he seems to have been startled out of his ennui),  but – inevitably – events conspire to keep them together. (Plus, every time she says ‘Please stay with me for a little while longer’, he seems just a little too willing to agree.) It turns out that Diana has got herself mixed up in a dodgy deal involving the heritage of the Shah of Iran and some jewel smuggling, and now various heavies of Iranian, French, and British origin are on her tail. Can either of them get through the night in one piece?

Careers go up, careers go down; Goldblum had been appearing in films for over ten years by 1985, and was just on the verge of breaking through to genuine stardom (he appeared in The Fly the following year). Pfeiffer wasn’t quite so well established, being mainly known for Grease 2 and Scarface at the time, but was just beginning the run of movies that would lead to her becoming one of the most successful actresses of the late 80s and 90s. John Landis, on the other hand, had already directed The Blues Brothers, Animal House, An American Werewolf in London, and Trading Places, but from the mid-80s on he would struggle to consistently find creative or commercial success. You could argue that Into the Night marks the onset of this: Landis’ previous movie, Trading Places, made $90 million; Into the Night made less than eight.

There were quite a few films with a similar theme doing the rounds in the middle 80s. I’ve heard this described as the ‘yuppie nightmare’ or ‘yuppie in peril’ subgenre, but the thing is that this seems mainly used to describe films like Fatal Attraction, Single White Female, and Bad Influence, straight thrillers concerning the ‘[insert noun] from hell’ – the one night stand from hell, the room-mate from hell, or whatever. I think that Into the Night represents something a bit odder and more obscure, which I would refer to as ‘yuppie-led-astray’ movies (a different subgenre – or perhaps subsubgenre?). Into the Night came out in early 1985, Scorsese’s After Hours appeared later the same year, and Jonathan Demme’s Something Wild was released in 1986: all of them concern outwardly successful but quietly unhappy men who find themselves involved in a series of misadventures after encountering a free-spirited young woman.

As Into the Night was the first of these films off the blocks, it can hardly be that people were already sick of the idea when it came out, so its relative lack of success must be due to something else. One of the elements of the film singled out for criticism by directors at the time is the fact that it is stuffed with cameos by Landis’ friends and acquaintances from the film-making world. If you really know your stuff you can spot people like Jack Arnold, Don Siegel, Jim Henson, Rick Baker, Roger Vadim, Paul Mazursky, Jonathan Demme, Lawrence Kasdan, Jonathan Lynn, Amy Heckerling and David Cronenberg, all making small appearances. I’m not sure this is necessarily a huge problem, as it’s only distracting if you have a genuinely encyclopaedic knowledge of cinema – I’m a big fan of Jack Arnold’s films, for example, but I had no idea what he looked like until I found out he’d been in this film.

More of a problem is the sense that the elements of the yuppie-led-astray film are here in embryonic form but haven’t quite fully developed yet. The best of these films have a strong sense of time about them: After Hours takes place in the course of a single night, Something Wild over a single weekend. You would expect Into the Night to follow the same pattern, with the main action of the film all happening in the course of a night and the climax, perhaps, coming at dawn. This is not the case – about two thirds of the way through, a new day dawns, and there’s about ten minutes of plot before the protagonists decide to nap through until the following evening, which is when the rest of it takes place (the conclusion is not great, and the film ambles to a close rather than actually having a strong climax). Maybe they just ran out of money for night shooting; certainly the production values of some parts of this film resemble those of an episode of The A Team or The Rockford Files rather than a genuine movie.

I think it may just be that John Landis wasn’t quite a good enough director to pull off this kind of movie, as they require a level of wit and subtlety that you don’t necessarily associate with this director, except perhaps in American Werewolf. There are some rather embarrassing slapstick hoodlums in this movie, one of whom is played by Landis himself; in one particularly tonally-off moment a gag where they struggle to get through a door, which is not funny, is followed by them pursuing and then murdering a fleeing woman, which would never be funny. There is a definite problem with pervasive misogyny in this movie, I would say: most of the women in it are, if not actually prostitutes or mistresses, then defined by their attractiveness. There’s also a fair degree of gratuitous nudity in it, all female of course.

Even Michelle Pfeiffer is required to get every stitch of kit off for a couple of brief sequences, but she manages to rise above this, not to mention a generally underwritten part, and delivers a convincing and effective performance as a recognisably human character. You can see why she became such a big star. Can the same be said for Jeff Goldblum? Well – here’s the thing about the protagonists of yuppie-led-astray films; they are by nature hapless everymen, audience identification figures plunged into peculiar and unexpected worlds. Goldblum is a fine performer, but he is almost always the quirky one, the slightly off-kilter character. In this film he has to rein all of that in and be the most normal thing in the movie, basically spending nearly two hours reacting to the more eccentric characters around him (and some of them are highly eccentric: David Bowie cameos as an extremely polite moustachioed English hitman). And you can’t help feeling, what a waste of potential. This isn’t to say Goldblum is bad in this film, but you’re just aware he can be much better when he isn’t so badly miscast.

Into the Night is basically one of those odd movies which has a certain kind of curiosity value and passes the time in a not too objectionable manner. The thing is that everyone in it is much better in other, more famous movies; it’s not the director’s best work, either; and this whole style of story is handled much, much better in other movies (my recommendation would be Something Wild, which is darker, stranger, sexier, and more emotionally engaging). Just about worth watching though, particularly if you like Goldblum and Pfeiffer.

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