There are (at least) two ways to read Alessio Della Valles’ American Night. A hapless postmodern crime drama set in and around the private art gallery of vacillating critic John Kaplan. Jonathan Reese Myers and funded by the inept brutal artist Rubino ( Emil Hirsch).
The film could be construed as a lame parody of all other branches of decade-long pulp fiction. That is copying the most superficial qualities of Quentin Tarantino’s current cult film from 1994. Incredibly its cool, but not cynical and flickering cynicism and style.
“American Night” can also be read as a reflection. Rather than a commentary on American Pop Art:
After Andy Warhol and Tarantino. That second shot may seem harsh. But there isn’t much room for generosity in a film where cheesy villain Hirsch takes the time to recount the old parable of the scorpion and the frog that moviegoers might remember from Mr Orson Welles.
You don’t need to know this story anymore to be disappointed with the reruns on American Night. Especially since it’s the kind of movie where Michael ends up shaving off his hair to show off the scorpion tattoo on the side of his head. Is this overheated move supposed to be funny or dramatic? After all, the fiery villain Hirsch still looks sad and clingy.
The creators of “American Night” often do their best to tell you. That they thought of their story because it relates to various pop culture rocks. Such as the bartender who played Kurt Cobain in the Jesse Froman film.
Thanks to its three-part viewing structure, you can tell a lot about this film. A buzzing neon sign announced the title of the first chapter: “Art + Life”. This is also the second chapter’s title. As if we were viewing it from within the John Kaplan Art Gallery.
A bullet pierces the glass window that separates us from this literal sign.
We are theoretically on the other side of the fragile mirror that separates one type of Pop Art from another. Unfortunately, American Night is often reproduced without significantly expanding.
The reach of post-Tarantino stereotypes about the individualism. The free will, and the value of the art in this world ruled by superficial gangsters and denying adversity.
It’s often hard to understand what went wrong with American Night. Because many ideas are as empty and shallow as their characters. Everyone is in debt (financially), and nothing is fulfilled (spiritual). Kaplan is desperate to open his gallery, but he’s caught between two living and unreliable Mafia protectors, Lord Samuel Morgan (Michael Madsen) and Rubino.
Hirsch has more scenes than Madsen, so you might think there’s more insecurity in the bad guys. After all, Michael has a judgmental family (biological and mob) and some ambitious ideas about the value of art. He also has a significantly influenced sense of style. His paintings are a mixture of dripping, natural (or “real”) bullet holes created by real guns and space. Why? Not many!
There are a few other notable characters:
Most notably the uncoordinated courier Shaki (Fortunato Cerlino) and the hapless stuntman Vincent (Jeremy Piven). Still, these guys have just created the inevitable conflict between John and Michael. And they’re both revolving around the same image by Andy Warhol, Michael of Choice and John by chance.
Everyone in “American Night” is characterized by their odd behaviour. Which is more accessible in terms of supporting characters like Shaki. Who suffers from sudden (and narrative) bouts of narcolepsy, or Vincent.
Who the infamous “Bruce Lees love.” “obsessed is the saying “Be water”. John and Michael are sadly just as unattractive. The former drifting away from love affairs with the other. And the latter admiring the value of art despite the very poor quality of the work itself. “I don’t want to hear anyone criticize my art”. “
The biggest problem with judging a film as brilliant and stellar. As American Night is that a lot of the critical stuff. Sure, Michael’s image looks ridiculous, but John’s defence of the universal need for TED-talking art – “It Makes Us Human”. It isn’t much more interesting, nor are the passionate s*x scenes.
That seems to feature the antihero Myers is the figure of the impotent antagonist Hirsch. What are the functional differences between John’s and Michael’s worldviews?
Plus, there’s not much conflict to propel them from one episodic encounter to the next:
So we stop to watch a powerful group of free characters transform into a closed-in train in the desert. Circling aimlessly with each other and with their happiness. You’re free to interpret “American Night” however you like. But the film will never be more or less than it seems, and that’s not much.