Night on Earth (1991)

Director:

Jim Jarmusch

Guionista:

Jim Jarmusch (written by)

Release Date:

12 diciembre 1991 (Germany)

Genre:

Comedy | Drama

Frase comercial:

Five Taxis. Five Cities. One Night.

Plot:

An anthology of 5 different cab drivers in 5 American and European cities and their remarkable fares on the same eventful night.

Plot Keywords:

Diplomat | Sunglasses | Sister In Law | Episodic | Casting

Awards:

1 win

Comentarios de los usuarios:

7/10

Cast

Gena Rowlands	...	Victoria Snelling
Winona Ryder	...	Corky
Lisanne Falk	...	Rock Manager
Alan Randolph Scott	...	Rock Musician #1
Anthony Portillo	...	Rock Musician #2
Armin Mueller-Stahl	...	Helmut Grokenberger
Giancarlo Esposito	...	YoYo
Rosie Perez	...	Angela
Richard Boes	...	Cab Driver #1
Isaach De Bankolé	...	Driver (Paris)
Béatrice Dalle	...	Blind Woman
Pascal N'Zonzi	...	Passenger #1 (as Pascal Nzonzi)
Emile Abossolo M'bo	...	Passenger #2 (as Émile Abossolo-M'bo)
Stéphane Boucher	...	Man in Accident (as Stephane Boucher)
Noel Kaufmann	...	Man on Motorcycle

También conocida como:

LANewYorkParisRomeHelsinki (USA) (working title)
Une nuit sur terre (France)
Noche en la tierra (Spain) [es]
Noche en la tierra, Una (Argentina) [es]

Duración:

129 min

País:

France | UK | Germany | USA | Japan

Idioma:

English | French | Finnish | Italian | German

Color:

Color

Aspect Ratio:

1.85 : 1

Sonido:

Dolby

Clasificación:

Singapore:M18 | Iceland:L | Argentina:16 | Australia:M | Finland:S | France:U | Germany:16 | Portugal:M/12 | Spain:18 | Sweden:11 | UK:15 | USA:R

Filming Locations:

Brooklyn Bridge, New York City, New York, USA

Company:

Victor Company of Japan (JVC)

Trivialidades:

The Roman taxi driver (Roberto Benigni) has an 8-ball as a gearstick knob. In Down by Law (1986), Benigni played a character who killed a man using an 8-ball.

Quotes:

Paris Driver: Don't blind people usually wear dark glasses?
Blind Woman: Do they? I've never seen a blind person.

Movie Connections:

Featured in Los Angeles Plays Itself (2003)

Soundtrack:

Summertime Blues

7/10

In terms of perspective on life, these comic-philosophic taxi rides may be the most uplifting scenes in Jarmusch's oeuvre. The first of five segments (in L.A.) deals with Winona Ryder (in a broad, self-conscious performance) as a cab driver who picks up Gena Rowlands, who wants to put her in a movie. Rowlands is subtle and complex: she's a rich bitch with a soft side, but we don't know if she's the former because she's a player or if she's the latter because she wants to use Ryder. What Jarmusch is going for is to contrast the social classes -- he has an obvious, unfunny line where Ryder's character says she's never been to the executive terminal at the airport before -- but what's really interesting is seeing, since Jarmusch is usually a male-oriented director, how he handles women (one a tomboy, one in a position of power).

It's obvious that the little idea of a movie about four taxi cab drivers is just a thin story that gives Jarmusch an excuse to work with certain actors, like Rowlands, whose late, great husband he adores. He goes for cultural miscommunication in the New York story (which is the film's most tender and brotherly), the warring cultures within a city, where a black man (Giancarlo Esposito) who can't land a cab fights with his Puerto Rican girlfriend while being badly driven around by former circus clown (Armin Mueller-Stahl, in a goofy, charming performance). Jarmusch makes brilliant statements on race and color in the Paris segment, with a sassy blind woman who's aware of what her driver is thinking of her -- and who turns our expectations on their head twice, without coming back to where we started. Benigni, who doesn't play the clown, is nevertheless the funniest in the Rome ride: he talks aloud to himself and outdoes and predates "American Pie" by almost a decade. The final, Helsinki section is the most powerful. When the cabbie tries to one-up the sob story by one of his three passengers, the conclusion seems to be that he wins; the two conscious passengers seem to think their unconscious friend's troubles are insignificant, as if they can't both be sad. 7/10