SUBWAY RIDERS is a powerful poem of the 80's.
But obviously, Nick from London does not like poems. I don't agree with him. What he hates, made this film probably the BEST FILM EVER.
It may even good to fall asleep while watching the film: then your consciousness cannot block and resist to the impression of this film. Switch off reason! Simply watch it again and you will understand better.
********** SPOILERS AHEAD *************
Searching and getting lost is exactly what the detective (Robbie Coltrane before he has sold out to mainstream) is doing. His story is not "detective searching the killer", but "lonely, frustrated man under pressure losing his wife and stability". No wonder that he shoots the killer at the end, after all his frustration (remember him eating the cold food out of the can?!). While the killer is not a killer, but a dark angel-poet (remember the sound of horses, while he is drinking beer?!), helping the lost souls of yuppies and nighthawks find their peace in death (better be dead than living in New York City!).
As you may have noticed, I also do not agree with IMDB's "contents" section. There is a saxophone killer indeed, but he has a mirror image, and they have a hooker neighbour, who has a mirror persona, too - and there is a psychic with a little girl, called "Cola-Marie"...
And all form a cast of outdropped alien strangers on a far away planet... of course, the film on this planet has to be grainy, and mainly colour-neon-lit, shot totally on location, often at night. Some idiots may call this "too dark" or "bad quality", while that's the only way to catch this atmosphere. And the film does catch it indeed. He manages where most features fail. They destroy what they try to catch. Even worse, they tell us "We have captured it!" while in fact they present us dead bodies.
To the damage of our perception, Hollywood and TV did persuade us that their faked images, the destroyed images of reality that they supply, and that they call "good quality", are the correct and only ones. Thus they manage to persuade some viewers that SUBWAY RIDER is bad stuff, with no socially redeeming values, shot in bad technique, by a crew of retarded amateurs.
But what the big film business calls "professionalism" is in fact a status of death, and has nothing to do with life, truth or reality. If you search for this, and can stand some personal, visionary poetry, watch SUBWAY RIDERS.
But obviously, Nick from London does not like poems. I don't agree with him. What he hates, made this film probably the BEST FILM EVER.
- Camerawork: I've never seen such an unique way of lighting and movements. Johanna Heer has invented an own language, an own grammar of using coloured lighting and, at the same time, moving a tilted camera. Somehow it works, the grammar is correct, but don't ask me how. She simply knows how to move. It took about 15 years, before Wong Kar-Wei and Christopher Lloyd could manage a similar style, which finally revolutionized modern cinema.
- Then the weird, fast editing manages to fit with the strange camera movements to create an unparalled style. Maybe experimental, but still there is a moving story (no, many stories) about urban loneliness and desire. (Moving camera, moving story, ha!) But Poe also knows to slow down. Remember the "how many stars are there..." story?! The image seems to stay forever. Not only during the film, but now for 20 years in my mind.
- SUBWAY RIDER includes so many stories, that one tends to lose the overview. Be assured that it is not necessary to have one. Forget it! Overview is for sissies! SUBWAY RIDER's topic is to be lost in the night and in the city, to keep on searching without knowing what, thus you should also expect to get LOST!
It may even good to fall asleep while watching the film: then your consciousness cannot block and resist to the impression of this film. Switch off reason! Simply watch it again and you will understand better.
********** SPOILERS AHEAD *************
Searching and getting lost is exactly what the detective (Robbie Coltrane before he has sold out to mainstream) is doing. His story is not "detective searching the killer", but "lonely, frustrated man under pressure losing his wife and stability". No wonder that he shoots the killer at the end, after all his frustration (remember him eating the cold food out of the can?!). While the killer is not a killer, but a dark angel-poet (remember the sound of horses, while he is drinking beer?!), helping the lost souls of yuppies and nighthawks find their peace in death (better be dead than living in New York City!).
As you may have noticed, I also do not agree with IMDB's "contents" section. There is a saxophone killer indeed, but he has a mirror image, and they have a hooker neighbour, who has a mirror persona, too - and there is a psychic with a little girl, called "Cola-Marie"...
And all form a cast of outdropped alien strangers on a far away planet... of course, the film on this planet has to be grainy, and mainly colour-neon-lit, shot totally on location, often at night. Some idiots may call this "too dark" or "bad quality", while that's the only way to catch this atmosphere. And the film does catch it indeed. He manages where most features fail. They destroy what they try to catch. Even worse, they tell us "We have captured it!" while in fact they present us dead bodies.
To the damage of our perception, Hollywood and TV did persuade us that their faked images, the destroyed images of reality that they supply, and that they call "good quality", are the correct and only ones. Thus they manage to persuade some viewers that SUBWAY RIDER is bad stuff, with no socially redeeming values, shot in bad technique, by a crew of retarded amateurs.
But what the big film business calls "professionalism" is in fact a status of death, and has nothing to do with life, truth or reality. If you search for this, and can stand some personal, visionary poetry, watch SUBWAY RIDERS.