Shadows and Fog


Action / Comedy

Rotten Tomatoes Critics - Rotten 52%
Rotten Tomatoes Audience - Spilled 56%
IMDb Rating 6.8 10 13990


Uploaded By: LINUS
Downloaded 4,509 times
November 16, 2015 at 01:46 PM



Peter Dinklage as Circus Performer
Jodie Foster as Prostitute
John Cusack as Student Jack
Woody Allen as Kleinman
720p 1080p
518.17 MB
23.976 fps
1hr 25 min
P/S 3 / 1
1.41 GB
23.976 fps
1hr 25 min
P/S 0 / 2

Movie Reviews

Reviewed by Adrian Fuoco ([email protected]) 10 / 10

Allen at his Finest

'Shadows & Fog' is, for me, all that which makes a perfect picture. I've seen all Woody Allen's pictures, and none affects me in the same way that 'S&F' does.

The film is set in the early part of the 20th century somewhere in Eastern Europe. The opening scenes set up what will become the basic plot (and believe me, it is basic) of the film. Allen plays Klieinman, a simple clerk who is awaken by a lynch mob hell-bent on catching a killer who has taken to strangling (or slitting the throats, nobody seems sure) of the townsfolk.

As Kleinman leaves his flat in reluctant search of the killer, we are introduced to the fog swept streets of the village. It is here that we find the real character of this film. Allen uses the simple story of the hunt as a means to introduce us to us to true beauty in the night. He uses lighting and canted angles to produce a surreal setting unlike any film produced in the last half-century. Note the way light filtering through the spokes of the circus wagons reflects of the fog in a way so beautiful and haunting that it's easy to forget we're watching an 88min comedy shot on sound stages in New York.

Setting the mood as such, Allen walks us through the streets and offers a brief glimpse of the characters who inhabit the night. It seems as if the whole town is up searching for the killer, and each of them is given a short moment to offer a bit of insight and then move on. However brief, each character brings us further into the shadows and we soon feel a chill as the night air seems to fill the room.

The scene eventually shifts to a whore house where we are privy to a spectacular scene. Five women sit at a table discussing relationships, fascinating stories given that most of them are whores. Instead of cuts, Allen simply places a camera in the center of the table and revolves as the ladies converse. It's a scene reminiscent of the opening sequence of 'A Touch of Evil' of the Copacabana scene in 'Goodfellas'. Amazing.

There's so much more to say. Brecht's score is wonderful, the cast is literally one of the best of the 1990's (Cusack, Malkovitch, Foster, Macy, Riley, Shaw, Bates, Tomilin, Kavner, Pleasence), and the jokes are hilarious.

Above everything, see this film for it's namesake ... Shadows and Fog. If ever there was a homage to night and all its mystery and beauty, it's 'Shadows and Fog'.

Reviewed by JoeKarlosi 7 / 10

Shadows and Fog (1992) ***

I made the big mistake of avoiding this for years based on all the garbage I'd heard slammed against it, and as a result it was one of the last Woody Allen movies I got around to seeing. Well, it was worth waiting for, as it turned out to be a real treat. This is one of Allen's strangest works, probably his signature stab at a horror spoof. The black and white moody photography is compelling, modeled after the dark German expressionistic films of Murnau and Fritz Lang, as well as a hearkening back to those delightful old horror and Sherlock Holmes films from Universal Studios.

The action is set in an un-named village in an unknown time and place, but it's patterned after the early 20th Century, with a hint of Germany or even London. True to form, Allen plays a dweeb who is awoken at midnight by an angry mob demanding that he assist them in tracking down a Jack-the-Ripper-like serial murderer who's prowling the streets. He half-heartedly gets dressed and ventures out into the moonlit fog, unsure of just what's expected from him while he manages a few good one-liner's in his apprehension ("they say the killer has the strength of 10 men; I have the strength of one small boy -- with polio").

There are guest stars galore, some of whom have very small parts but are fun to watch anyway. A traveling circus in town consists of a female sword swallower (Mia Farrow) and her clown husband (John Malkovich) who is having an affair with the Strongman's pretty wife (Madonna). When Farrow catches the two of them in a caravan together, she storms out alone into the dark and is taken in by a street walker (Lily Tomlin) who lets her unwind inside her brothel with the rest of the whores (two of which are played by Kathy Bates and Jodie Foster). Some of the finest moments in the film come within the whorehouse, complimented by philosophical discussion and interesting camera-work. It's there that a wealthy young patron (John Cusack) fancies Mia and coaxes her into bed for one night. Her ultimate guilt over the encounter leads her back into the dense fog, until she meets up (predictably) with Woody. Also in small roles are Donald Pleasence in good form as a mad coroner who wants to analyze the essence of the killer's "evil" (possibly playing on his involvement in the HALLOWEEN films) and a wasted turn by Fred Gwynne (don't blink or you'll miss him) as one of the villagers.

SHADOWS AND FOG is flawed to be sure (there are a lot of loose ends remaining untied for one thing) but it's visually appealing and rich in atmosphere and the language of the night. I enjoyed it. *** out of ****

Reviewed by Nimbo 10 / 10

Vintage Woody (either you love him or hate him there is no inbetween)

This excellent black and white, set perhaps in Berlin in the 20's has no conclusion, only vignettes in the period from midnight to dawn. The city is engulfed in fear. A serial killer is at large..

The camera shots illicit tension. All is shrouded in dark and murky unusual camera angles. The outdoor scenes are always somewhat blurred and slightly out of focus adding to the climate of fear.

There is no plot per se, only chance meetings between participants. Of note is the conversation in the whorehouse, stimulating and extremely thought provoking. Woody's use of a revolving camera in the shot from face around to face around to face while the girls talk and the conversation is heard no matter on whom the camera is focused, -- this is a first. The viewer needs to pay extreme attention. Moreover the background music of Kurt Weill adds so much to the ambience.

Seeing this now makes me wish wholeheartedly that Woody and Mia never had that horrible unpleasantness between them. Now the future forebodes there never being such a pairing. We all do suffer, including them.

I say this film deserves a 10 out of 10 and the critics be damned. So many critics are prone to criticize every theatrical offering of Woody just because of his personal behavior.

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