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23 out of 23 people found the following review useful: I really loved this movie, 23 June 2007 Author: refined_cujo-1 from Australia
I was fortunate enough to see this at the Sydney Film festival. I am a fan of Van Sants, having seen all his stuff and read his fiction- and I've always wondered if I would ever see this curiosity of a film. And what I expected to be nothing more than a real fledgeling of a film, with only a glimmer of the Van Sant that attracts many to his work- was in actuality a stunning, fully sustained episodic and tender Ka-pow! that was wonderfully made and full of all the visual tricks and flair that makes Van Sants movies so idiosyncratic and so ... well him. This was the biggest delight for me about it. I expected, simply because it is so hard to find and that it has no DVD release that it would be a mere trifle of a film. But it is anything but.I was moved, all the acting was top-notch. The main character was likeably deluded, such a victim of his own desire it was funny and warming at the same time. The Black and White and evident grain in occasional sound inconsistencies actually work for it; it helps draw the detail out of the locale and its people in a manner very reminiscent of Van Sants Idaho and Drugstore Cowboy. There are moments of confusion, of randomness, of erotica and tragedy. The music is wonderful, every camera angle delicately crafted, but never contrived or pretentious- full of humour and warmth. What a joy this film was and to me, seriously one of Van Sants best. Maybe its because I'm a gay man and with the exclusion of his Paris Je Teme segment, and elements of My Own Private Idaho, this is his only overtly gay story. And it plays real, with an almost documentary like realism (for example the scenes of language barriers between the the main protagonist and Pepper)- but then again its almost as theatrical as opera, playing it broad and surreal. I cant praise it highly enough. A real surprise, a delight. I hope it gets seen.
26 out of 29 people found the following review useful: He who fools with the bull gets the horn!, 8 February 2000 Author: Gothick from Boston, Mass.
In the summary, the word "fools" should more accurately be another English word with four letters, but I doubt whether the regulations for this site will permit that. That is the subtitle for this movie and it does tell one side of the story. Another side involves the randomness of life in Portland, a city that's more like an overgrown small town with a big seamy underbelly and lots of folks eking out an existence on the margins. This movie shows with subtly limned images and snatches of wry, realistic dialogue just how vast and differentiated the landscape of "the margins" is in this town. And maybe, too, in that weird district of the Twilight Zone known as America.Twilight is a state of mind that provides the true setting for this story that seems to be a fragment of a greater whole, but nevertheless has its own peculiar beauty. The black and white photography is stunning and seductive, and perfect for the film noir desperation (occasionally melodramatic but never posturing) with which these characters seem to run their lives. The director uses chiaroscuro, the play of light and shadow over the faces and bodies of his players, to hint at people's emotions or to suggest the cluelessness with which they get through the day. Despite the sense of general confusion, there are poignant and powerful emotions that surface here, thanks to the skillfully nuanced photography and the expressiveness of the actors.The casting is perfect, but among the actors only Tim Streeter really seems to give a coherently thought-through performance. Streeter, to judge from his performance here, is an actor of brilliance and considerable sensitivity--it's sad that his only other credit is a 1987 appearance on 21 Jump Street. A lot of the shots in the movie are composed with great inventiveness, but the visual beauty that results never feels arty or contrived, mainly because of the gritty realities that encompass the characters' lives and passions.Certain scenes in this movie made me think of images that surface in the songs of indie bard Elliott Smith, whose music was used in Gus van Sant's much glitzier mainstream movie, Good Will Hunting. Images of lonely people smoking late nights away over cheap beers in loud bars, waiting for their sense of woundedness to dull sufficiently so that they can go back out on the street and face some semblance of life again. The use of music is yet another element that gives Mala Noche a distinctive flavor--the music credits cover several screens at the end of the movie--as one would expect with a director who is also a composer and musician in his own right.Poetic, frail, fragmentary and haunting, this is one of those movies where, even if you never quite get the story, certain images from it will nevertheless linger a long time in your memory after you have seen it.
13 out of 14 people found the following review useful: Mala Noche, 23 November 2007 Author: Aluísio Parondi (nem.freud.explica@gmail.com) from Winooski, Vermont, USA
'Mala Noche': is it just me, or do these words sound beautiful together? As a native Portuguese speaker (English is my second language), it's funny for me to realize that those beautiful-sounding words mean, plainly, "bad night". I guess Gus Van Sant also thought they sounded much nicer in Spanish, and didn't call his debut film "Bad Night"."Mala Noche" is based on an autobiographical novel by Walt Curtis (played by Tim Streeter), the young manager of a liquor store who falls in love with a Mexican lad (Doug Cooyeate), an illegal immigrant who doesn't speak English. Shot in black-and-white 16MM for only $25,000, the film lacks the wholesomeness of Van Sant's following movies, more notably his masterpiece, "My Own Private Idaho" (1991). The acting varies from mediocre (Streeter) to plain bad (Cooyeate and most of the supporting cast), but in spite of the below par actors and the extremely low budget, Van Sant managed to create some beautiful scenes, already demonstrating his raw sense of street-life poetry. Creighton Lindsay is responsible for a sensitive music score. In spite of its flaws, "Mala Noche" deserves to be seen by those who admire the work of one of the most influential and daring American indie filmmakers. 8/10.
19 out of 27 people found the following review useful: Gus van Sant's first feature film, 15 June 2002 Author: Wayne Malin (wwaayynnee51@hotmail.com) from United States
No budget film about a young man heavily attracted to some Mexican teenagers in Portland OR in 1977.The film is in black & white, the sound is (at times) incomprehensible and some of the acting is pretty bad. Also it has more than it's share of boring moments and no real ending. Still, it sticks with you.I originally saw the film in 1990 at a film festival. I was very impressed but it wasn't available in any form. A lot of the scenes were still fresh in my mind and the acting by Tim Streeter was superb. It was until this year (2002), that I was able to see it again and that's only because the director allowed his own private print to be shown.I still liked it a lot, but I had forgotten how bad the actors playing Mexicans were, and that there was really no ending. Still, the direction is great (very impressive considering the lack of budget) and , when it worked, it was fascinating. However it is very bleak and the subject matter may bother some people. Well worth catching...if you can.
7 out of 7 people found the following review useful: American guy fawns over Mexican guy, 22 January 2008 Author: ksf-2 from southwest US
Mala Noche is kind of "a month in the life of" Walt, played by Tim Streeter, who is fawning over Johnny, (Doug Cooeyate) a Mexican who hangs around Walt's store. It's touching, sad, and frustrating to watch as Walt keeps throwing himself at Johnny, and is constantly rebuffed. Walt, who is the caregiver to just about everyone he meets, spouts life philosophy and seems to enjoy the thrill of the chase in the gritty side of town. At the same time, it's refreshing to see a film from 20 years ago treat gay characters and relationships with respect, and to give them "normal" lines without resorting to stereotypes. Oddly, Ray Monge, who plays Roberto, a friend of Johnny, is the only one has has had more than one or two roles listed in their career, and he has just four roles listed. Some neat little touches, like the bottle on a string that pulls the door closed like a spring, Walt greeting everyone on the street, and the driving lesson gone wrong. Interesting interview with van Sant on the DVD from janus/Criterion, where he explains how it was made from Curtis' story. A little offbeat and rough, but fun to watch.
6 out of 6 people found the following review useful: Short, sharp and sweet, 11 March 2008 Author: Martin Bradley (MOscarbradley@aol.com) from Derry, Ireland
Gus Van Sant's debut is like a dry-run for "My Own Private Idaho" made on a shoe-string in grainy monochrome on the streets and in the stores and apartments of Portland, Oregon. It's not about anything other than the passion felt by Walt, a store clerk played by Tim Streeter, for Johnny, a young Mexican tearaway with little or no English who acknowledges his feelings but doesn't reciprocate them. Its free-wheeling, unfettered sensibility has made it a seminal film for both Independent and New Queer Cinema and it's a lot more likable, (and perversely, more accessible), than most of Van Sant's later output. It also makes great use of Tex-Mex music and the 'non-performances' of the three boys who take centre stage have an off-the-wall quality that has nothing to do with 'acting' but feels nicely naturalistic. (All three boys are actually quite engaging in their disparate ways). Short, sharp and sweet.
3 out of 3 people found the following review useful: A Milestone In American "Gay" Cinema, 29 October 2008 Author: BandofInsiders from United States
As the stagnant state of films in the 1980's was still in its inevitable decline the emergence of a new breed of American independent directors saw this as a moment full of opportunity. Gus Van Sant decided to turn his camera on the outcasts of a small Portland neighborhood and create an intimate portrait of 3 young men at an important turning point in their lives. Not only is Mala Noche an influential example of 1980's independent cinema it also serves as a milestone for the New Queer Cinema that would become more prevalent in the 1990's. Gus Van Sant's stark debut would serve as a blueprint for many directors to come. Mala Noche focuses on convenience store worker Walt's and his infatuation with a young immigrant Jonny who is fresh off riding the rails from Mexico with his friend Pepper. From the film's first scene its unabashed open "gayness" lets the viewer know what they are in for. Van Sant makes no attempt to justify his films openly gay stance instead he embraces it and explores the beauty and darkness that accompany it. Walt and Johnny coexist solely based on their parasitic relationship. Walt gushes romanticized convictions for a boy he knows little about, such as "I want to drink this Mexican boy" or "I have to show him that I'm gay for him." While Johnny uses Walt for a house to crash and the occasional joy ride in his car. At the same time both are uncomfortable with their personal situation but can't help to hold on to what they have left.John Campbell's bleak camera work adds a lot to the look of the seedy underbelly of Portland almost as if it could have been shot as a documentary. Mala Noche is one the few films that benefits from working on such a small budget. It gives the viewer a sense that Van Sant was truly in touch on a deeper level with his subjects than just an "actor/director" level. Ultimately Mala Noche is a profound representation of America's emerging "gay" cinema and an important document of Portland in the mid 1980's. Gus Van Sant would go onto make stronger films but this fascinating debut will show he has shown a strong passion for his films and his subjects right from the beginning.
1 out of 1 people found the following review useful: Classic Gus VanSant film!, 20 August 2009 Author: asgardsrei1 from Deutschland
"Mala Noche/Bad Night" is immediately recognizable as a Gus Van Sant film, with it's precisely cool and artistic style. From the opening shots in the box car, as the two Mexican friends sneak across the border, shadows play upon their faces, emphasizing the fear and excitement that these guys must feel. It is surprising to hear this called a "low budget" film; "Mala Noche" has the look of a polished and professional film. Blockbusters such as "Sin City" with their huge budgets, attempted to achieve the look of this one, and failed. The story is simple, and takes a back seat to the imagery. A normal-looking guy in his 20's develops a "crush" on one of the young Mexican immigrants who spends his days hanging around the Portland streets near the "gringo's" shop. Walt professes his "love" to 18 year old Johnny. However the fact that they don't speak the same language and have nothing in common, make this more a case of sexual "lust." Johnny, who has no interest in men, lets Walt into his life, if only for the benefits of some free food, cash, and rides around the city. It is quite sad and tragic to witness the Mexican boy treating Walt so cruelly, but Walt's behavior is not much better, treating the boy like a piece of meat by offering him $15 for sex. After being rejected and abandoned by Johnny, Walt finds himself in a shaky relationship with Johnny's best friend Roberto. When Roberto enters the picture, the film gets even better. It is interesting to witness how these two outcasts relate, as they struggle to understand each others worlds. Roberto, played by Ray Monge is more likable than the hardened Johnny, and possesses this quality that makes you want to take care of him. When he becomes sick, Walt does just that, and this is the most unforgettable thing about "Mala Noche." This is one of the very few gay-themed films that is actually "cool," and not embarrassing to watch. Van Sant made the surprising and wise decision to make Walt a totally normal, straight-acting, straight-looking guy. Most films present gays in the typical stereotype, feminine looking and acting men appearing foolish and camp. Of course, the best thing about Van Sant's debut film is it's style, and the phenomenal way he uses black and white to portray mood. Each frame could be cut out and hung on the wall, it is that beautiful. This is the true definition of "cult cinema." Finally available after years of obscurity, this is now available on a high quality DVD, featuring razor-sharp picture quality and good sound. For fans of Van Sants earlier work, "Mala Noche" is a must-see film. Also those who remember Portland in the 80's will get a kick out of all the street scenes, featuring locals who, mostly seem to like drinking "Night Train." "Mala Noche" is a classic..
1 out of 1 people found the following review useful: More than an exercise piece., 9 December 2008 Author: adamshl from United States
During the twenty three years between "Mala Noche" and "Milk," Gus Van Sant made two other films that were quite above average; namely,"My Own Private Idaho" and "Good Will Hunting." His early effort, "Mala Noche," seems to play like a prequel to "Idaho," or at least an exercise piece, preparing for the main event. Both are set in Portland in the seedier side of town and both deal with assorted transients and street hustlers. "Idaho," however, has a rough Shakespearian basis, giving it more structural depth, while "Noche" drifts from one episode to the next without strong dramatic motivation.Still, "Noche" is rich in black and white imagery, mood, and atmosphere. It's more of an artwork than other Van Sant films, and maintains its artistry throughout (still, the running time seemed to me much longer than 78 minutes).The cast is serviceable without being outstanding, and the production design is thoughtful. The DVD release of the film offers a lengthy interview by the director, which provides interesting information for admirers of Van Sant.
It's Gus Van Sant's first and it's a worth watching little feature film…, 20 September 2009 Author: eric_xoloitzcuintle from Mexico City
Some time ago, like two years ago to be more or less exact, I was into the films of director Gus Van Sant. I got to see a few of his, not counting his latest film Milk that was released just last year, 12 feature films. I got to see Drugstore Cowboy, Finding Forrester, Elephant (my favourite of him so far), Last Days and Paranoid Park. As I often remark in my IMDb comments, I'm one of the fans of the truly amazing Criterion Collection and two Van Sant films are part of the collection, two of his first ones: Mala Noche (his very first one, released in 1985) and My Own Private Idaho (released back in 1991, two years after the release of Drugstore Cowboy). It was about time to finally check out the Criterion Van Sant titles and while not on the Criterion DVD today I saw Mala Noche (and I will renting as soon as I can the Criterion DVD of My Own Private Idaho, which is one of the most acclaimed films of Van Sant. And by the way, if you go to the website of Criterion you will find the lists of favourite Criterion titles of people like Richard Linklater, John Lurie,. "Idaho"is part of the list of Steve Buscemi, James Franco, so is more acclaim, more for me to finally check out that 1991 film).
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