After Hours, directed by Martin Scorsese, begins with a veneer of normalcy but gradually spirals into a bizarre and unsettling nocturnal odyssey. This 1985 black comedy thriller is an experience in escalating strangeness, particularly captivating in its initial acts, though it loses some momentum as it approaches its conclusion.
Scorsese’s directorial prowess is evident throughout. The film incorporates his signature dolly zoom, a technique that subtly amplifies the characters’ emotional states and the mounting tension of the narrative. Beyond this trademark, the movie employs a diverse range of cinematic techniques – rotating shots and dynamic pans – adding visual flair and keeping the viewer engaged, even if these techniques don’t always feel groundbreaking.
The film’s soundtrack is a standout element. Eschewing an original score, Scorsese masterfully weaves together existing music, spanning classical compositions, punk rock energy, and nostalgic oldies. This eclectic mix of sounds injects vibrancy and underscores the shifting moods of each scene. However, it’s the compelling performances that truly amplify the film’s atmosphere.
The acting across the board is exceptional. Each character exudes an unsettling aura, fostering a pervasive sense of mistrust. With the possible exception of the protagonist, every interaction is tinged with unpredictability. Characters are prone to sudden outbursts or peculiar behaviors, making for consistently engaging, if unnerving, exchanges. Given that the film is heavily dialogue-driven, these eccentric personalities and their interactions are crucial to its success. The ensemble cast embodies these roles perfectly, creating a memorable collection of oddballs.
The “story,” or perhaps more accurately, the protagonist’s nightmarish experience, is inherently captivating. While the narrative threads connecting various characters and events are present, their coherence is questionable. Some connections feel organic, while others seem contrived, existing solely to force links, even at the expense of narrative logic. The interconnectedness often feels tenuous and strange. This has led to an intriguing theory: the entire night could be interpreted as an elaborate, staged performance orchestrated around Paul Hackett, the main character. Imagine a scenario where he unwittingly becomes the central figure in a piece of performance art – thrust into a meticulously crafted “show.” The encounter towards the film’s climax with June, and the peculiar room filled with plaster figures, lends credence to this idea. In that scene, a stack of bagel-and-cream-cheese paperweights is visible, almost as if props pre-positioned for a specific purpose. This theory could rationalize the somewhat arbitrary connections between characters, the conspicuous absence of police follow-up regarding the supposed death of a girlfriend, and the conveniently timed distractions encountered throughout the night.
However, it’s important to emphasize that this interpretation remains purely speculative. The film offers no explicit confirmation. Despite any narrative ambiguities, After Hours is undeniably a compelling and well-crafted film, offering a unique and disquieting cinematic experience.
