Can't Sleep Cinema - Into the Night

Ever had one of those nights where you can't sleep. No doubt you have. What do you do when you find yourself up late at night and wide-awake? I suppose you could read, or try counting sheep, or you might even try a warm glass of milk, and if you are really desperate to sleep, a pill may be an option. When it happens to me, I generally flip on the television in search of a rerun of something I've seen dozens of times before (especially a John Wayne or Clint Eastwood flick). Usually, I end up just flipping channels until I fall back asleep. However, on a few rare occasions, I wwill come across something that catches my attention. You know, one of those movies that you have never heard of, but once you started watching you can't stop. One of those little gems that I found several years ago on one of those can't sleep nights was an off-beat little John Landis film called, Into the Night.

Plot Summary:

Ed Okin's life is not what he expected it would be. He has a dull job, his friends are boring, his marriage is in a funk and he is on a fast track to nowhere. In addition, to all of that (or because of it), he is suffering from insomnia. One day while in a meeting at work, his insomnia affects his performance, so he is sent home early. Upon arriving home, he walks in on his wife having an affair. That night he gets in his car and starts to drive through Los Angeles where he finally ends in a parking garage of L.A.X. Moments later a beautiful young lady being chased by four Iranians jumps onto the hood of his car and asks Ed for help. What follows is a wild chase through the streets of Los Angeles and ultimately back to the Airport again. It is this wild ride through LA that makes the film so entertaining. Here's the original trailer.

Cast:

The film has a unique cast starting with its two leads, Jeff Goldblum and Michelle Pfeiffer. Throw in supporting roles by the likes of Dan Akroyd, David Bowie, Carl Perkins, Bruce McGill, Kathryn Harrold, Paul Mazursky, Richard Farnsworth, Vera Miles, Clu Gulager and Irene Papas. Then, sprinkle in cameos by a large number of well-known directors and filmmakers (including Landis himself), and you can see that the cast is indeed unique. 

Some critics were put off by the inside joke casting, deeming it "cinematic auto-eroticism." Nevertheless, I had fun trying to identify all of the cameos. I especially enjoyed watching David Bowie and Carl Perkins in their roles, both of them known more for their music than acting. I thought they did an excellent job and added to the "quirkiness" of the film. 

You could also say that the city of Los Angeles itself as a member of the cast. Throughout the film Landis takes us on a journey and allows us to experience all that is LA. From the suburbs to the freeways, and many other locations. We go from Marina Del Rey to Rodeo Drive to Beverly Hills and several points in between. All the while, Landis provides little reminders of LA as sort of a running commentary in the background (especially the Cal Worthington commercials).  

In his role as Okin, Goldblum's job is really that of a straight man. In this case, however, he is playing straight man, not to his costar Michelle Pfeiffer, but rather to to all of the craziness going on around them. It's one of my favorite Goldblum roles.

I have never been a big Pfeiffer fan (say that ten times fast), but as Diana, she really is very good here. Diana is caught up in a series of circumstances that quickly spiral out of her control. She has been living with the jet set and hanging around some shady characters. She has been playing with fire and now there is the real possibility she is going to get burned, permanently. Pfeiffer makes it all believable.

Throughout the film, you get the sense that Diana might actually feel bad about using Ed, but she really has nowhere else to turn. You also realize that Ed knows he is being used, but this is the most excitement he's experienced in years. Together, they make a formidable team. Whether Diana develops true affections for Ed is not clear until the end. This is not a romantic comedy, but more like a strange and sometimes dangerous version of Abbot and Costello. Interestingly, at one point, during an especially intense scene, an Abbot and Costello movie is playing in the background.

Soundtrack:

One of the things that makes a movie great, as opposed to just good, is its soundtrack. Into the Night is no exception. The score by Ira Newborn includes three songs performed by B.B. King.

Into the Night
Lucille
At the Midnight Hour

Here's B.B. singing the theme song.

Conclusion:

Just to be clear, this is not a slapstick comedy, in fact, it has elements of very dark humor. It is also not a comedy per se, rather it is an offbeat thriller. Just remember, humor is subjective and what resonates with me, may not resonate with you. What I find funny may not be funny to you. Nevertheless, I recommend you check it out.