The Blackout (1997)

User Rating:

4.9/10   

Director:

Abel Ferrara

Writers:

Abel Ferrara (writer)
Marla Hanson (writer)

Release Date:

11 June 1997 (France)

Genre:

Drama

Tagline:

the darkest secrets are the ones we hide from ourselves

Plot:

A debauched Hollywood movie actor tries to piece together one wild night in Miami years earlier which remains a drug-induced blur, and soon finds out that some questions about his past are best left unanswered.

Plot Keywords:

Abortion | Actor | Female Nudity | Fragmentation | Threesome

Awards:

3 wins

Cast

Matthew Modine	...	Matty
Claudia Schiffer	...	Susan
Béatrice Dalle	...	Annie 1
Sarah Lassez	...	Annie 2
Dennis Hopper	...	Mickey Wayne
Steven Bauer	...	Mickey's Studio Actor
Laura Bailey	...	Mickey's Studio Actress
Nancy Ferrara	...	Mickey's Studio Actress
Andrew Fiscella	...	Mickey's Studio Actor (as Andy Fiscella)
Vincent Lamberti	...	Mickey's Studio Actor
Victoria Duffy	...	Script Girl
Nicholas De Cegli	...	Miami Drug Dealer
Daphne Duplaix	...	Fly Girl (Daphne)
Mercy Lopez	...	Fly Girl (Jasmine)
Lori Eastside	...	That Girl

Also Known As:

The Blackout (France)

MPAA:

Rated R for strong pervasive drug use, language, sexual content and violence.

Runtime:

98 min

Country:

USA | France

Language:

English | French

Color:

Color (Technicolor)

Sound Mix:

Dolby

Certification:

Australia:R | Netherlands:16 | New Zealand:R18 | Chile:18 | Finland:K-16 | Portugal:M/16 | Spain:18 | Sweden:15 | UK:18 | USA:R | Iceland:16

Filming Locations:

Miami, Florida, USA

Company:

Cipa

Quotes:

Susan: Matty, I love you.
Matty: How can I love you back, when I don't even love myself?

Movie Connections:

Referenced in A Short Film About the Long Career of Abel Ferrara (2004) (V)

Soundtrack:

MURDER ONE

Plausible account of a lost soul

It takes a while to get into the movie's mood - Modine's druggy trawl through a razor-sharp Miami is not very well differentiated despite Ferrara's excellent handling, teetering at the edge of surrender to the prevailing decadence but always retaining a distinct alienation and fascinated disgust. Later on the style becomes more tightly formal and controlled, befitting Modine's cleared up state, and Ferrara's portrayal of his obsession and disquietude is very effective in a more conventionally expositional way. Towards the end the mechanics of the ultimate revelation really take over, but Hopper's final long profane shouting fit at Modine after he learns the truth is too hard-hitting to be set aside, and the high-risk final image is oddly touching - the movie is a plausible account of a true lost soul grappling for stability in a world of temptation and internal darkness, with neat (albeit stunt) casting.