アメリカを代表する作家ポール・オースターが書き下ろした原作を基に、男たちの中に隠された哀しいロマンティシズムを描いた都会の物語。14年間毎朝同じ時刻に店の前で写真を撮り続けている煙草屋の店長オーギー、彼の馴染みの客で突然の事故により出産まもない妻を失って以来ペンを持てずにいる作家のポール、彼が車に跳ねられそうになった所を助けた黒人少年ラシードの3人を軸に、ブルックリンのとある煙草屋に集まる男達女達の日常を、過去と現在を、嘘と本当を巧みに交差させながら進んでゆく。
AIが作品の魅力を深く読み解いています
製作費: $7,000,000 (11億円)
興行収入: $8,349,430 (13億円)
推定収支: $1,349,430 (2億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: Wayne Wang / Paul Auster
脚本: Paul Auster
音楽: レイチェル・ポートマン
制作: 堀越謙三 / Hisami Kuroiwa / Peter Newman
撮影監督: Adam Holender
制作会社: Miramax / NDF International / Eurospace
**A set of stories, more than a story made up of stories.** This film reminded me, in a certain way, of a polite version of “Clerks”, an unorthodox comedy where everything revolves around a convenience store, a video club and two employees from those same stores. Here, everything revolves around Auggie Wren's tobacconist, who takes a picture of the shop every day, at the same time. In one of them, by chance, the deceased wife of one of the store's customers appears who, after being saved from being run over by a boy, decides to help him. The film is discreet, does not have great cinematography resources, nor visuals. Everything here revolves around the characters, their individual stories, the way they intersect and interconnect. The script is very important for the film, but the work of the actors cannot be overlooked either. Harvey Keitel does a very worthy and well-executed job, and William Hurt, Harold Perrineau and Forest Whitaker follow him closely, so we have a good cast working hard. The big problem with this movie is that it really doesn't have much more to offer. For those who like films that are very much based on characters, their behavior, their stories, and well-written dialogues, the film is wonderful. For anyone hoping this all boils down to a story that is more than a set of stories, the film may be disappointing.
