INTO THE NIGHT. A unique atmosphere and a host of stars in supporting roles

John Landis created several great titles, including “Animal House” (which pioneered the so-called teen comedies), “The Blues Brothers,” “Trading Places,” and “Spies Like Us.” The peak of his career occurred in the 1980s, and his portfolio also includes collaboration with Michael Jackson on the iconic “Thriller” music video. Unfortunately, during the filming of “Twilight Zone: The Movie,” a tragic accident occurred that resulted in the deaths of three people, including two children. Landis was charged with involuntary manslaughter and was only acquitted after a lengthy trial. However, the echoes of the tragedy and the resulting legal controversies still haunt him to this day. “Into the Night” was the second project Landis completed after the fatal accident.

The plot begins when Ed Okin (Jeff Goldblum), suffering from insomnia and discovering his wife is cheating on him, leaves his house in the middle of the night, gets into his car, and drives aimlessly around the city. He has no goal or plan—it’s a spontaneous reaction to an overwhelming situation. Soon, he meets an attractive woman named Diana (Michelle Pfeiffer) and helps her escape trouble. But the real problems are just beginning…

At least initially, the film draws heavily from Hitchcock. Diana hides some secret she doesn’t want to share with Ed, dangerous characters are constantly on their tail, and it’s generally unclear what’s going on. The threat looms over the protagonists the whole time. Despite this, the first few minutes of “Into the Night” have a calm, almost dreamlike atmosphere before evolving into a mix of comedy and action, typical of the 1980s, further spiced with the director’s signature playful humor. For most of the time, the mood is set by the atmospheric music of Ira Newborn (“The Blues Brothers,” “Naked Gun”), but a few songs are also performed by B.B. King. As the plot develops, the intrigue expands, leading the protagonists to unexpected places and encounters with a gallery of strange, often dangerous thugs.

Of course, one could criticize the occasionally slow pacing or the fact that the main character doesn’t have much to do (which is why Jack Nicholson turned down the role). But why bother, when the movie is enjoyable to watch, and the wonderful atmosphere of the nighttime streets of Los Angeles (though somewhat empty) pours out from the screen, inviting viewers to get lost in it? Along the way, the director treats us to some delightful gags—like the Elvis impersonator subplot or a quartet of overly nervous Iranian terrorists (one of whom is played by Landis himself)—and deftly juggles genres, moving from slapstick to crime within a single scene.

It’s also necessary to mention the host of famous figures in supporting roles. There’s an international cast of directors appearing on screen, including David Cronenberg (“The Fly”), Jonathan Demme (“The Silence of the Lambs”), Don Siegel (“Dirty Harry”), Jim Henson (creator of The Muppets), and Roger Vadim (“And God Created Woman”). Even David Bowie makes a brief appearance as a ruthless spy in a humorous role. Landis successfully continued this tradition of casting his fellow directors in small roles in his other films. Here, it also served as a form of support from the filmmaking community for the director after the aforementioned accident.

I really enjoy everything from John Landis, so I wasn’t disappointed with the somewhat forgotten “Into the Night.” While it may not be as funny as “Spies Like Us,” as clever as “Trading Places,” or even half as wild as the adventures of the Blues Brothers, the unique, pleasant 1980s vibe (which for many will be an additional bonus) guarantees a relaxing and enjoyable viewing experience.

Written by Piotr Zymelka