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Scorsese’s 1985 dark comedy ‘After Hours’ portrays the cathartic journey of a young man as he pursues a potential lover interest in the New York underbelly after a deadbeat day working his office job. As the night ensues, he finds himself caught amongst a series of bizarre events, a decent into hell within the artistic streets of this new age New York.
Paul Hackett (Griffin Dunne) is a data entry worker that clocks out of his mundane job day after day. However, upon a chance meeting with an attractive yet peculiar woman at a local café named Marcy (Rosanna Arquette) his world is turned upside down as he descends into a world of artistic madness, as he becomes entangled in a series of unfortunate circumstances that plunges his night into pure chaos.
Rosana Arquette’s character is a clear stand out in the film although not being the centre focus. A perfect blend of seduction, intelligence and vulnerability is brought on by her character as her mannerism seems to distance Paul as he senses sinister intent. Hackett plays a likeable yet somewhat pathetic ‘office joe’ that is thrust into this foreign world of promiscuity, greed and hypersexuality. He must survive the afterhours of this chaotic world until the break of dawn. A true change within his present mundane lifestyle.
After Hours is Scorsese’s most experimental film as it is an open exploration of comedy with heavy ties to Dante as he ventures through the nine circles of hell. Paul’s encounters with certain characters put him in a Perpetual loop that plunges him deeper into madness as the city itself consumes his soul.
The film itself is paced well as the odd yet effective blends of comedy and suspense is interwoven with the central narrative. Like many of his works, he acts in a self-referential cameo, which can be interpreted as a meta statement about the ‘artist painting his art’.
After Hours is a fascinating look into the creation of the 'artist' through a bizarre baptism in metaphysical hell.
Rating: 4/5
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