It's so rare to find a literary work adequately translated to the screen that I may have rated this film higher than it deserves, but not by much. As a long-time student of Vonnegut's works, I have no hesitation in recommending the film to his readers, at least to those that love him as I do. The casting is inspired: Nolte is understated in triumph, bewildered in defeat, decisive in judgment. Sheryl Lee is luscious throughout, but her handling of the treacherous Resi and her tragic crescendo almost makes you forget her beauty. Alan Arkin delivers a totally lovable, but equally treacherous, Soviet spy.
Do not feel you have to read Mother Night to appreciate the film; though, if you haven't read Mother Night, you will probably want to after viewing the film.
Notice the shifts from color to black-and-white and back again, and don't miss the final symbolism of Campbell's noose. Watch, also, for Kurt Vonnegut's cameo near the end of the film.
Bing Crosby's "White Christmas" will never sound the same (I write in mid-December, when the song is getting heavy radio play, and it's driving me nuts).
Do not feel you have to read Mother Night to appreciate the film; though, if you haven't read Mother Night, you will probably want to after viewing the film.
Notice the shifts from color to black-and-white and back again, and don't miss the final symbolism of Campbell's noose. Watch, also, for Kurt Vonnegut's cameo near the end of the film.
Bing Crosby's "White Christmas" will never sound the same (I write in mid-December, when the song is getting heavy radio play, and it's driving me nuts).
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