Blue in the Face

Blue in the Face is an engaging oddball comedy film that came out in 1995, directed by Wayne Wang and Paul Auster. The film features a star-studded ensemble cast that includes Harvey Keitel, Lou Reed, Michael J. Fox, along with Roseanne Barr, Mira Sorvino, Giancarlo Esposito, and Jim Jarmusch among others. Each actor wonderfully contributes to this unique piece of cinema, making it a potpourri of interesting characters and delightful interactions.

The movie acts as a sequel and spin-off of sorts to Wayne Wang's previous film, "Smoke," which was also set in a tobacco shop in Brooklyn. Harvey Keitel reprises his role as Auggie Wren, the manager of a cigar shop that acts as the hub for all the drama, humor, and stories that the film has to offer.

Blue in the Face, however, is noticeably different from its predecessor and sets itself apart through its experimental and improvisational feel. The shooting of the film took a mere six days right after the conclusion of Smoke. The film was largely improvised, with the actors given a basic framework of a script and allowed to develop their characters and dialogue spontaneously. The result is a series of offbeat vignettes that deeply embody the spirit of Brooklyn and its inhabitants.

Harvey Keitel's Auggie, the proverbial captain of this ship, is a man of stories and listens to even more. The cigar shop he manages isn't simply a place of business; it's a rendezvous point for the denizens of the neighborhood, a microcosm of Brooklyn itself. Customers come in not just for cigarettes, but for conversation, community, and a kind of connection that's becoming rarer in an increasingly distant world. In the midst of it all, Auggie with his calm demeanor and infectious charisma, reigns as the fulcrum for these diverse interactions.

Among the other characters, Michael J. Fox's Pete Maloney stands out. Pete, an insurance salesman with a flair for impersonation, adds an additional layer of humor to the film. Similarly, Lou Reed as himself offers a spectacular performance, delivering lines with a breezy, deadpan style that fits seamlessly into the film's eclectic atmosphere.

"Blue in the Face" is virtually plotless, a move that allows for spontaneity and a deep exploration of characters over a traditional storyline. Instead of focusing on a singular plot, the film lets a day unfold in the life of Auggie and his store, interspersing this with interviews and segments that showcase the vibrant streets, diverse languages, sounds, faces, and the overall dynamism of Brooklyn.

The film is awash with dialogues and monologues that offer reflections on a range of subjects - love, life, death, cigars, and the rapidly changing face of the neighborhood. These stories and insights, delivered by the talented cast of characters, come together to paint a vivid and authentic portrayal of a vibrant, living community. The movie is not just a tribute to Brooklyn, its rich culture and its lively denizens, but also a celebration of the magic of storytelling, where every person has a unique tale to tell, subtly reflecting on the ordinariness of life and its extraordinary moments.

Blue in the Face defies traditional categorization and is a joyous tapestry of improvisation, vibrant characters, and vibrant humor. Its quirkiness won't appeal to everyone, but it is this off-kilter charm and the movie's affectionate depiction of its Brooklyn setting and denizens that make it a unique and memorable experience. Its authentic portrayal of diverse and eccentric characters and its comedic undertones make it essential viewing for those who appreciate films with an unconventional and endearing ethos.

In conclusion, Blue in the Face is fun, comical, and genuinely touching at various points. It's an open-ended, free-flowing tribute to its setting, Brooklyn, and the individuals who make up its fabric. While not for everybody due to its unconventional structure and approach, it is a treat for those who appreciate films that play outside the norm, offering a memorable cinematic experience that skillfully blurs the boundaries between formal storytelling and spontaneous improvisation.