After Hours (1985) takes a different approach to New York City that has not been explored in any of Martin Scorsese’s films before. Yes, Taxi Driver shows the dirty, crime-ridden aspects of New York, but that is through the main character’s vision. After Hours is different. Scorsese experiments and gets weird with this film, and really alludes to the feeling of what it is like to be awake at three in the morning in a city like this… And when I say weird, I mean1980s weird! Which is weirder than most weirds. Can I say weird again?
Protagonist Paul Hackett, played by Griffin Dunne (finally somebody other than Robert De Niro) is a city-living, word processor who meets a woman named Marcy (Rosanna Arquette) after a long workday. Paul eventually decides to visit Marcy at her downtown Manhattan apartment, and after a series of unfortunate, awkward, and near-death experiences, Paul just wants to return to his apartment in uptown. “Everything and everyone he meets seems to be conspiring to prevent him from getting home, or even staying alive” (Christie and Thompson 98-99). Obscure? Sure! But it’s a fun watch!
After Hours shows the animal that New York City is when it is late and the nightlife is prominent...and Scorsese is not afraid to show it all! After referring to the King of Comedy as a “mature” film, for the lack of camera movement, dynamic shot selections, and cinematic choices, After Hours gets crafty! Scorsese is back to his roots on this independent film, making this one of his more intriguing films that he packs into an hour and a half, instead of his usual two or three-hour films.
Story/Plot – 17/20 Direction – 17/20 Acting - 16/20
Cinematography – 18/20 Score/Soundtrack – 16/20
The Founder of @HennionProductions,