Seeing the renovations and how the Behranis have settled in makes her determined to get her house back and she finds an attorney, Connie Walsh, who assures her that because of the county's mistake, they will return Massoud's money and restore the house to her. Massoud, having already spent money on improving the house, is unwilling to accept anything less than the higher value of the property, which the county refuses to pay.
Connie advises Kathy that her only option is now to sue the county, though it will take months. Kathy tries to convince Massoud to sell back the house; he too advises her to sue the county and promises to sell her the house back if she comes up with the money, but she retaliates by beginning to harass him and his family in front of potential buyers.
Desperate for help, Kathy stalks and seduces Lester into abandoning his wife and children and becoming her protector. Under a pseudonym, Lester threatens to have Massoud and his family deported if he refuses to sell the house back to the county. Aware that Lester was acting on Kathy's behalf, Massoud reports this to Internal Affairs, who severely reprimand Lester, and furiously warns Kathy to leave his family alone.
Kathy calls her brother Frank for help, but cannot bring herself to admit that she is homeless. Despondent, she becomes drunk and attempts suicide in the driveway with Lester's sidearm. Massoud finds her drunkenly unable to discharge the gun, and brings her inside. Kathy tries to kill herself again with pills, but Nadereh saves her.
As she and her husband carry Kathy to the bedroom, Lester breaks in and sees Kathy unconscious. In a xenophobic rage, Lester locks the Behranis in their own bathroom, refusing to let them out until Massoud agrees to relinquish the house. Massoud offers to sell the house and will give Kathy the money in exchange for her putting the house in his name.
The New York Times. December 31, The Washington Post. The Telegraph. October 12, Retrieved February 12, The Guardian. April 9, Retrieved April 14, Woody Allen. Filmography Bibliography Awards and nominations. Namespaces Article Talk. Views Read Edit View history.
Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Poor Kleinman doesn't know exactly what he has to do with anything, but as he puts it, everything seems to know what he's supposed to be doing but him. Across town, Mia Farrow is the circus performer Irmy, who finds out her boyfriend John Malkovich is cheating on her, so she leaves him. A client John Cusack declares himself in love with Mia and offers her money to sleep with him. The priest is impressed, and the police cross Kleinman's name off the list of suspects.
Then they meet a beggar, and she sends Kleinman back for half the money. Kleinman's name goes back on the list of suspects. Yes, it's an odd but fascinating film. The atmosphere is bizarre, very German - dark, bleak, and foggy, with a scary serial killer out of "M. The funniest scene is when Kleinman tries to hide out at his ex-girlfriend's Julie Kavner who calls him every name in the book and then tries to turn him in.
Kleinman is an innocent man caught in confusing circumstances and times, not sure which side he should be on - there are two factions trying to catch this killer, and both attempt to recruit him - and all the poor guy wants is a promotion at his job.
Though his reactions are often amusing, imagine being awoken by the police in the middle of the night and having no idea what it's about. It's happened, though, as it happens in the film. As Kleinman wanders the streets, unsure of where he's going, we can relate. This so-called comedy is a rethinking of Woody Allen's own short play 'Death' published in his collection 'Without Feathers' , transplanted to a weird, Kafka-like Middle European setting and mercilessly padded at the expense of the humor to allow room for several high profile guest stars, most of them in roles too small to be noticed.
The effect is not unlike a student film parody of a Woody Allen comedy, following a hapless nebbish who could only have been played by Allen himself pressed into service by urban vigilantes hunting a shadowy killer.
The familiar one-liners and stale meditations on God, sex, and death are all camouflaged behind some beautiful if hokey black and white photography, with transparent references to more than one film school idol: Bergman, Murnau, Fellini, and so forth. What's left is the novelty of seeing Kathy Bates playing a prostitute alongside Lilly Tomlin and Jodie Foster, and John Malkovich cast as a circus clown opposite Madonna.
It wasn't meant this way, but the casting is the funniest thing about the movie. TheLittleSongbird 11 July On first viewing I wasn't crazy about Shadows and Fog, while the film looked fantastic and was well-directed the characters left me cold, the film didn't seem to know what tone it wanted and the story seemed meandering and dull. On re-watch however Shadows and Fog fared much better as was with almost all the Allen films that didn't impress at first apart from Anything Else , it is nowhere near among Woody Allen's best and is around the lower middle of his filmography but I found it a good film and not among Allen's worst that it's often said to be.
Visually, Shadows and Fog looks fantastic with brilliant black and white cinematography and Expressionistic images that are as striking as they are haunting. Allen's films are always well-made, but Shadows and Fog visually like Zelig is quite unique from a visual standpoint.
The music is very eerie and fits the atmosphere perfectly, in fact if anything it adds to it. While it was confusing of what tone the film was trying to go with on first viewing, on re-watch it was much clearer and that criticism seems unfair now.
The dialogue is both subtle and hilarious love the brothel scenes with sharp homages and insight in characteristic Woody Allen vein, but even more impressive was the murder-mystery element while a really chilling atmosphere is created, helped by the visuals and music.
Allen's directing is as always adept and his performance, the most memorable, is a lot of fun. John Cusack does nervous and angsty very nicely and Jodie Foster and Kathy Bates are remarkably good in against-type roles. Shadows and Fog has imperfections, Mia Farrow for me overdoes it and comes across as shrill, John Malkovich deserved much more to do and is a little wasted and Madonna is rather out of place.
The story does have its drawn out and aimless patches with an ending that felt convoluted and hurried, and the characters are not very interesting, a lot of them barely in the film. To conclude however, a good film but considering how well the best assets come off it could have been more than good. One foggy night. A killer on the loose. A circus in town. A clueless man involved in a plot to catch the killer, but what is the plot?
Not one of Woody Allen's most well-known movies but it's definitely worth a look. In terms of quality, it lacks essence to be one of Woody's best or most memorable but it's by no means a bad movie. Interesting nonetheless, especially for Woody Allen fans. This film is obviously not for everyone, not even for everyone who likes Woody Allen. I like it a lot, partly for the awesome all-star cast, partly for the blending of comedy i.
I'm not going to go into a lot of details on the film, anyone can pick them up between the other user comments, external and newsgroup reviews. The main reason I'm adding my two cents worth is no one seems to have noticed, or commented on one of the film's underlying themes: that of anti-semitism in Europe apparently between world wars. For instance, the "Mintz" family is picked up by the police as a convenient scapegoat for the recent murders despite Kleinman's Woody Allen assertion that they are "lovely people.
I can't quite put my finger on it, but he seems to be referring to the start of Hitler's persecution of Jews in Germany prior to WW II.
Of course this theme is woven in with several others regarding marital fidelity, prostitution, insanity and the nature of mob- mentality; but it does seem interesting that everyone motivated enough to write something about this film pro or con seems to have overlooked, or intentionally ignored. Handlinghandel 3 December I was having chemotherapy when this came out and don't actually remember its even existing. And, to be honest, it barely does exist. It has lots of superb actors. Christo in Paris.
The Chronicles of Riddick. Citizen Kane. City Girl. City Hall. City Lights. City of Women. Coco Chanel. Code Name Melville. Code Unknown.
Cold Fish. Color Me Kubrick. La Commare Secca. Common Law Wife. Computer Chess. The Constant Gardner. Le Corbeu.
Corpse Bride. The Country Comes to Town. Cours du soir. Crash Cronenberg. La Cravate. Crazy, Stupid, Love. The Cremator.
Cries and Whispers. Crimes and Misdemeanors. The Cruise of the Zaca. Cuba Libre. The Curious Case of Benjamin Button. The Cut-Throats. Dan in Real Life. Dance Party, USA. The Darjeerling Limited. Dark Fury. Dark Habits.
Dark Water. Date Night. Day for Night. Day of the Outlaw. A Day in the Life Krish. Day Watch. Days of Wine and Roses. Death and Transfiguration. Death by Hanging. Death Walks on High Heels. Death Watch. Deep Crimson. Demonoid Macabra. Desperate Teenage Lovedolls. The Devil and Daniel Johnston. The Devil and Miss Jones. The Devils. The Devil's Backbone.
The Devil's Rejects. Diary of Yunbogi. Die You Zombie Bastards! The Dinner Game. Dirty Like an Angel. Dirty Mary Crazy Larry. Dirty Pretty Things. Distant Voices, Still Lives. Le Divorce. Divorce Italian Style. DOA: Dead or Alive. The Docks of New York. Double Indemnity.
Down Terrace. Dressed to Kill De Palma. Dressed to Kill Neill. Early Bergman. The Earrings of Madame de …. Eastern Promises. Eating Raoul. Edward Scissorhands. Eisenstein: The Sound Years. Encounters at the End of the World. The End of an Old Song. End of Man. The Endurance. Enter the Ninja. The Epic of Everest. Erotic Adventures of Candy. Escape from New York. Escape from the 'Liberty' Cinema. Escape from Tomorrow. Eternal Sunshine of the Spotless Mind.
The Evil Dead Raimi. Evil Dead II. Ex Machina. The Executioner: Part II. The Exorcism of Emily Rose. The Exorcist.
Eyes Without a Face. The Face Studzinski. The Face of Britain. Faces Cassavetes. The Fall of the House of Usher Corman. The Family Man. Family Portraits: A Trilogy of America. Fanny and Alexander. Fantastic Mr.
A Farewell to Arms Vidor. The Fast and the Furious. Fat Girl. Faust Murnau. Faust Svankmajer. Fear and Desire. Feeling Good. Feeling Minnesota. Femme Fatale. La Femme Publique. A Field in England. The Fifth Element. Fight Club. A Film Trilogy by Ingmar Bergman. The Fisher King. The Five Obstructions. Five-Minute Films Leigh. The Flock. Flying Down to Rio. For All Mankind.
The Forbidden. Force Majeure. Foreign Correspondent. Forgotten Silver. Forza Bastia. Corman handles all this with flair and style, aided by some luscious widescreen cinematography from Floyd Crosby and the striking production design of Daniel Haller.
One sequence in which Roderick recounts the entire depraved history of the Usher family, as eerily distorted portraits of his ancestors leer down upon him and Winthrop in flickering light, is nothing short of stunning.
While the rest of the small cast is adequate, Price is riveting and even understated as Roderick, a man for whom the very act of existing leaves him in a world of pain. But his skills as a filmmaker of genuine artistry, style, and vision came to the forefront on The Fall of the House of Usher. Faithfully transferring the work of one of the great American authors to the screen, he elevated the genre and fashioned an unsettling piece of atmospheric work that helped usher in no pun intended a new era of sophistication for horror cinema — a decade that brought us the psychosexual terror of Psycho , The Haunting and The Innocents , the Gothic fever dreams of Mario Bava and the social commentary of Night of the Living Dead.Explore releases from The House Of Usher at Discogs. Shop for Vinyl, CDs and more from The House Of Usher at the Discogs Marketplace.