Shadows and Fog



Shadows and Fog (1991) download yts

Rotten Tomatoes Critics - Rotten 52%
Rotten Tomatoes Audience - Spilled 56%
IMDb Rating 6.8 10 13037  


Added By: Kaiac
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Peter Dinklage as Circus Performer
Jodie Foster as Prostitute
John Cusack as Student Jack
Woody Allen as Kleinman
720p 1080p
518.17 MB
23.976 fps
1hr 25 min
P/S Unknown
1.41 GB
23.976 fps
1hr 25 min
P/S Unknown

Movie Reviews

Reviewed by JoeKarlosi 7 / 10

Shadows and Fog (1992) ***

I made the big mistake of avoiding this for years based on all the garbage I'd heard slammed against it, and as a result it was one of the last Woody Allen movies I got around to seeing. Well, it was worth waiting for, as it turned out to be a real treat. This is one of Allen's strangest works, probably his signature stab at a horror spoof. The black and white moody photography is compelling, modeled after the dark German expressionistic films of Murnau and Fritz Lang, as well as a hearkening back to those delightful old horror and Sherlock Holmes films from Universal Studios.

The action is set in an un-named village in an unknown time and place, but it's patterned after the early 20th Century, with a hint of Germany or even London. True to form, Allen plays a dweeb who is awoken at midnight by an angry mob demanding that he assist them in tracking down a Jack-the-Ripper-like serial murderer who's prowling the streets. He half-heartedly gets dressed and ventures out into the moonlit fog, unsure of just what's expected from him while he manages a few good one-liner's in his apprehension ("they say the killer has the strength of 10 men; I have the strength of one small boy -- with polio").

There are guest stars galore, some of whom have very small parts but are fun to watch anyway. A traveling circus in town consists of a female sword swallower (Mia Farrow) and her clown husband (John Malkovich) who is having an affair with the Strongman's pretty wife (Madonna). When Farrow catches the two of them in a caravan together, she storms out alone into the dark and is taken in by a street walker (Lily Tomlin) who lets her unwind inside her brothel with the rest of the whores (two of which are played by Kathy Bates and Jodie Foster). Some of the finest moments in the film come within the whorehouse, complimented by philosophical discussion and interesting camera-work. It's there that a wealthy young patron (John Cusack) fancies Mia and coaxes her into bed for one night. Her ultimate guilt over the encounter leads her back into the dense fog, until she meets up (predictably) with Woody. Also in small roles are Donald Pleasence in good form as a mad coroner who wants to analyze the essence of the killer's "evil" (possibly playing on his involvement in the HALLOWEEN films) and a wasted turn by Fred Gwynne (don't blink or you'll miss him) as one of the villagers.

SHADOWS AND FOG is flawed to be sure (there are a lot of loose ends remaining untied for one thing) but it's visually appealing and rich in atmosphere and the language of the night. I enjoyed it. *** out of ****

Reviewed by Nimbo 10 / 10

Vintage Woody (either you love him or hate him there is no inbetween)

This excellent black and white, set perhaps in Berlin in the 20's has no conclusion, only vignettes in the period from midnight to dawn. The city is engulfed in fear. A serial killer is at large..

The camera shots illicit tension. All is shrouded in dark and murky unusual camera angles. The outdoor scenes are always somewhat blurred and slightly out of focus adding to the climate of fear.

There is no plot per se, only chance meetings between participants. Of note is the conversation in the whorehouse, stimulating and extremely thought provoking. Woody's use of a revolving camera in the shot from face around to face around to face while the girls talk and the conversation is heard no matter on whom the camera is focused, -- this is a first. The viewer needs to pay extreme attention. Moreover the background music of Kurt Weill adds so much to the ambience.

Seeing this now makes me wish wholeheartedly that Woody and Mia never had that horrible unpleasantness between them. Now the future forebodes there never being such a pairing. We all do suffer, including them.

I say this film deserves a 10 out of 10 and the critics be damned. So many critics are prone to criticize every theatrical offering of Woody just because of his personal behavior.

Reviewed by MatBrewster 8 / 10

Style Over Substance

Woody Allen's tribute to German expressionism is better than most critics would have you believe. Sure there is very little plot to speak of, it's more a series of vignettes and gags than a cohesive narrative. Sure, it ends rather abruptly, never solving the mystery, but none of this stopped my thorough enjoyment of this film.

As the title suggests the entire movie is designed in shadows and fog. Shot with beautiful black and white photography, Allen and cinematographer Carlo Di Palma create the look and feel of an unnamed East European city as seen in such films as M and Nosferatu. The lighting is set up so that in nearly every shot underlying shadows engulf the scene. In the exteriors a vicious fog rolls across the night sky obscuring most details. Through the fog bumbles Kleinman (Allen is his typical neurotic schmuck role) trying to find his role in a vigilante mob's plan to stop a serial killer roaming the streets. From dark night until dawn, Kleinman wanders from place to place meeting a wide variety of curious characters (played by an even more curious group of celebrities), the most endearing of which is a desperate sword swallower (Mia Farrow)who is has wandered into a brothel after fleeing her cheating boyfriend/clown (John Malcovich).

It is a little unsettling to watch Allen do his normal schtick while the characters around him are murdered, subjected to racial prejudice, beaten by the police and discuss such subjects as love, sex, and meaning. There is a subtext involving the plight of the Jews between the World Wars, foreshadowing the Nazis. Yet the gags remain as solid as any Woody Allen film. Amongst the seriousness of his subtext and the films he is paying homage to, Allen finds away to bring full bellied laughter. Though his quirky neurosis isn't as resolutely hilarious as it is in such films as Annie Hall, it is still enough to fill the film with mirth.

The film ends rather abruptly with Kleinman having never learned his role in the plan, nor the killer having been caught. Yet as the credits role we realize the mystery was not so much the reason behind the story as method in creating it.

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