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1985 film by Martin Scorsese From Wikipedia, the free encyclopedia
After Hours is a 1985 American black comedy film[4] directed by Martin Scorsese, written by Joseph Minion, and produced by Amy Robinson, Griffin Dunne, and Robert F. Colesberry. Dunne stars as Paul Hackett, an office worker who experiences a series of misadventures while attempting to make his way home from Manhattan's SoHo district during the night.
| After Hours | |
|---|---|
_POSTER.jpg) Theatrical release poster by Marvin Mattelson[1] | |
| Directed by | Martin Scorsese |
| Written by | Joseph Minion |
| Produced by | |
| Starring | |
| Cinematography | Michael Ballhaus |
| Edited by | Thelma Schoonmaker |
| Music by | Howard Shore |
Production companies |
|
| Distributed by | Warner Bros. |
Release date |
|
Running time | 97 minutes |
| Country | United States |
| Language | English |
| Budget | $4.5 million[2] |
| Box office | $10.6 million[3] |
After Hours was critically acclaimed for its black humor, and is now considered to be a cult classic. As of 2024, it is Scorsese's most recent film that is not an adaptation or biopic.
The film won the Independent Spirit Award for Best Feature. Scorsese won the Cannes Film Festival Award for Best Director and the Independent Spirit Award for Best Director for the film.
After a boring day at work, computer data entry worker Paul Hackett strikes up conversation with a stranger named Marcy Franklin in a café in New York City. Marcy tells him that she is living in SoHo with a sculptor named Kiki Bridges, who makes and sells plaster-of-Paris paperweights resembling cream cheese bagels and leaves him her number. After calling her, Paul takes a taxi to her apartment later that night. On the way, his $20 bill is blown out the window of the cab, leaving him with only some change, much to the incredulity of the cab driver. At the apartment, Paul meets Kiki, who is working on a sculpture of a screaming man which he compares to Edvard Munch's The Scream. Paul rifles through Marcy's belongings and discovers several items suggesting that Marcy is disfigured from burns; this, along with her increasingly strange behavior, leads him to abandon the date.
Paul attempts to go home by subway, but the fare has increased at the stroke of midnight, and he can no longer afford it after losing the $20. He goes to a bar where Julie, a waitress, immediately becomes enamored with him. At the bar, Paul learns that there has been a string of burglaries in the neighborhood. The bartender, Tom Schorr, offers to give Paul money for a subway token, but he is unable to open the bar's cash register. They exchange keys so that Paul can go to Tom's apartment to fetch the cash register key.
Paul spots two burglars, Neil and Pepe, with Kiki's man sculpture. After he confronts them, they flee, dropping the sculpture in the process. When Paul returns the sculpture to Kiki and Marcy's apartment, Kiki encourages him to apologize to Marcy. However, when he enters Marcy's room, he discovers that she has committed suicide by overdosing on Seconal. Paul reports Marcy's death before remembering his prior errand to return Tom's keys. On the way out, he grabs a note from Kiki inviting him and Marcy to Club Berlin.
The bar is locked when Paul arrives, with a sign stating that Tom will return shortly. Paul runs into Julie on the street, and she invites him up to her apartment to wait for Tom. Paul is unnerved by her own strange behavior, including sketching him while they talk. When he leaves the apartment, a scorned Julie makes wanted posters for the anonymous burglar using her sketch of him. He finally returns to the bar, where Tom receives a phone call that his girlfriend has killed herself. Paul leaves to find Kiki and inform her of Marcy's suicide. The bouncer at Club Berlin refuses him entry because his hairstyle does not fit the mohawk dress code, and Paul narrowly escapes several punks who attempt to give him a haircut.
Back on the street yet again, Paul meets a Mister Softee ice cream truck driver named Gail, who mistakes him for the burglar based on Julie's posters. Gail and a mob of locals, including Tom, relentlessly pursue Paul, who seeks refuge at the club. Sleep-deprived, bedraggled, and ranting, Paul uses his last quarter to play "Is That All There Is?" by Peggy Lee on the club's jukebox and asks an older woman named June to dance. After explaining his situation, June offers to hide him in her apartment underneath the club, where she uses papier-mâché to disguise him as a sculpture while the mob raids the club. After the mob leaves, June is worried they will come back, and doesn't take off the plaster, which hardens, trapping Paul in a position that resembles Kiki's sculpture. Neil and Pepe break in and steal Paul, thinking him to be the sculpture they had dropped in the street earlier, and place him in the back of their van.
The van speeds uptown and takes a sharp turn which swings open the van's back door. Paul falls to the pavement, with the force of the impact breaking the plaster open, directly outside the front gate of his office building. With no way to go home, he simply brushes himself off and goes to his desk, where his computer screen greets him for another day of work.
This film belongs in a grouping that revolves around a young working professional who is placed under threat, named the "yuppie nightmare cycle",[5] a subgenre of films which combines screwball comedy and film noir. Some critics present a psychoanalytic view of the film; Paul is constantly emasculated by women in the film: by Kiki with her sexual aggressiveness and lust for masochism,[2] Marcy turning down his sexual advances, Julie and Gail turning a vigilante mob on him, and June trapping him in plaster. There are many references to castration within the film,[5] most of which are shown when women are present. In the bathroom in Terminal Bar where Julie first encounters Paul, there is an image scrawled on the wall of a shark biting a man's erect penis.[6] Marcy makes a reference to her husband using a double entendre when saying, "I broke the whole thing off" when talking about their sex life.[5] One of the mouse traps that surrounds her bed clamps shut when Julie tries to seduce Paul.
Michael Rabiger sees mythological symbolism as a primary theme of the film, stating: "The hero of Scorsese's dark comedy After Hours is like a rat trying to escape from a labyrinth. Indeed there is a caged rat in one scene where Paul finds himself trapped in a talkative woman's apartment. The film could be plotted out as a labyrinthine journey, each compartment holding out the promise of a particular experience, almost all illusory and misleading".[7]
Paramount Pictures' abandonment of The Last Temptation of Christ was a huge disappointment to Scorsese, and spurred him to focus on independent companies and smaller projects.[8] The opportunity was offered to him by his lawyer Jay Julien, who put him through Griffin Dunne and Amy Robinson's Double Play Company. The project was called One Night in Soho and it was based on a script by Joseph Minion. The screenplay, originally titled Lies after a 1982 Joe Frank monologue that inspired it,[9] was written as part of an assignment for his film course at Columbia University. According to Frank, he was not asked for rights to the story, asking "what must the screenwriter have been thinking to place himself in such jeopardy?"[10] Minion was 26 years old at the time the film was produced.[11] The script finally became After Hours after Scorsese made his final amendments.[12] The film was originally to be directed by Tim Burton after Dunne and Robinson were impressed with his short film Vincent, but Burton willingly stepped aside when Scorsese expressed interest.[13]
One of Scorsese's contributions involved the dialogue between Paul and the doorman at Club Berlin, which was inspired by Franz Kafka's "Before the Law," one of the short stories included in his novel The Trial.[14][15] As Scorsese explained to Paul Attanasio, the short story reflected his frustration toward the production of The Last Temptation of Christ.[16]
After Hours was the first fictional film directed by Scorsese since Alice Doesn't Live Here Anymore in 1974 not to feature Robert De Niro.[4]
British director Michael Powell took part in the production of the film, and he and editor Thelma Schoonmaker married soon afterward. Nobody was sure how the film should end. Powell said that Paul must finish up back at work, but this was initially dismissed as too unlikely and difficult. They tried many other endings, and a few were even filmed, but the only one that everyone felt really worked was to have Paul finish up back at work just as the new day was starting.[13]
The score for After Hours was composed by Howard Shore. Although an official soundtrack album was not released, many of Shore's cues appear on the 2009 album Howard Shore: Collector's Edition Vol. 1.[17] In addition to the score, other music credited at the end of the film is:
After Hours grossed only $10.1 million in the United States,[3] but was given positive reviews and has since been considered an "underrated" entry in the director's filmography.[18][19][20][21] The film won Scorsese the Best Director award at the 1986 Cannes Film Festival and allowed him to take a hiatus from the tumultuous development of The Last Temptation of Christ.[22]
Film critic Roger Ebert gave After Hours four out of four stars. He praised the film as one of the year's best and said it "continues Scorsese's attempt to combine comedy and satire with unrelenting pressure and a sense of all-pervading paranoia."[23] He later added it to his "Great Movies" list.[24] In The New York Times, critic Vincent Canby gave the film a mixed review, calling it an "entertaining tease, with individually arresting sequences that are well acted by Mr. Dunne and the others, but which leave you feeling somewhat conned."[11]
On the review aggregator website Rotten Tomatoes, the film has an approval rating of 90% based on 69 reviews, with an average rating of 7.70/10. The site's critical consensus reads: "Bursting with frantic energy and tinged with black humor, After Hours is a masterful – and often overlooked – detour in Martin Scorsese's filmography."[25] On Metacritic, the film has a weighted average score of 89 out of 100 based on reviews from nine critics, indicating "universal acclaim".[26]
| Association | Category | Recipient | Result | Ref. |
|---|---|---|---|---|
| BAFTA Awards | Best Actress in a Supporting Role | Rosanna Arquette | Nominated | [27] |
| Cannes Film Festival | Palme d'Or | Martin Scorsese | Nominated | [28] |
| Best Director | Martin Scorsese | Won | ||
| Casting Society of America Awards | Best Casting for Feature Film – Comedy | Mary Colquhoun | Nominated | [29] |
| César Awards | Best Foreign Film | Martin Scorsese | Nominated | [30] |
| Golden Globe Awards | Best Actor in a Motion Picture – Comedy or Musical | Griffin Dunne | Nominated | [31] |
| Independent Spirit Awards | Best Feature | Robert F. Colesberry Griffin Dunne Amy Robinson |
Won | [32][33] |
| Best Director | Martin Scorsese | Won | ||
| Best Screenplay | Joseph Minion | Nominated | ||
| Best Female Lead | Rosanna Arquette | Nominated | ||
| Best Cinematography | Michael Ballhaus | Nominated | ||
| National Society of Film Critics Awards | Best Cinematography | Michael Ballhaus | Nominated |
Warner Home Video released After Hours on VHS and Betamax in 1986, and both widescreen and pan-and-scan NTSC LaserDiscs. It has also been released on DVD.[34][35] On July 11, 2023, the film was released on 4K UHD and Blu-ray by The Criterion Collection.[36][37]
After Hours served as an inspiration for the 2020 album After Hours by Canadian singer the Weeknd.[38] The film also inspired the 2021 Ted Lasso episode "Beard After Hours".[39]
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