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Light Sleeper [DVD] [1992] [Region 1] [US Import] [NTSC]

Willem Dafoe , Susan Sarandon , Paul Schrader    DVD
4.4 out of 5 stars  See all reviews (7 customer reviews)
Price: £3.90
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Region 1 encoding (requires a North American or multi-region DVD player and NTSC compatible TV. More about DVD formats.)

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Frequently Bought Together

Light Sleeper [DVD] [1992] [Region 1] [US Import] [NTSC] + The Walker [DVD] (2007) + American Gigolo [1980] [DVD]
Price For All Three: £25.90

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Product details

  • Actors: Willem Dafoe, Susan Sarandon, Dana Delany, David Clennon, Mary Beth Hurt
  • Directors: Paul Schrader
  • Writers: Paul Schrader
  • Producers: G. Mac Brown, Linda Reisman, Mario Kassar, Ronna B. Wallace
  • Format: Closed-captioned, Colour, DVD-Video, NTSC
  • Language: English
  • Subtitles: English, Spanish
  • Dubbed: French, Spanish
  • Region: Region 1 (US and Canada DVD formats.)
  • Aspect Ratio: 4:3 - 1.33:1
  • Number of discs: 1
  • Classification: R (Restricted) (US MPAA rating. See details.)
  • Studio: Lions Gate
  • DVD Release Date: 26 Mar 2002
  • Run Time: 103 minutes
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (7 customer reviews)
  • ASIN: B00005Y6XB
  • Amazon Bestsellers Rank: 154,427 in DVD & Blu-ray (See Top 100 in DVD & Blu-ray)

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Customer Reviews

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Most Helpful Customer Reviews
9 of 10 people found the following review helpful
5.0 out of 5 stars Willem and Dana at their best 18 Jun 2003
By A Customer
Sad movie, ending on a hopeful note. The characters get under your skin even if they do nothing to go there. It is like a familly drama with a drug dealer as a main hero. Willem plays a lost person, attached to the drug lord (exagerrating here) who is his best friend and played by Susan Sarandon. And then somebody he knew way back enters his life, and changes it. And then disappears and changes it again. There is a plot here, but everything else is what matters. The actors are brilliant. I love this movie.
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14 of 16 people found the following review helpful
5.0 out of 5 stars Light Sleeper, Heavy Hitter 1 Feb 2006
This is one of a related group of films, written or directed by Schrader, in which the principal is typically a spiritual insomniac, sleepwalking through life. It includes Taxi Driver (1976), American Gigolo (1980) and, more recently, Bringing Out The Dead (1999). They are notable in the way interior states are portrayed, rather than the dynamics of plot, as is so often the case with conventional Hollywood product. Characteristic of this is the way criticism of the present film, for instance, has often focussed around the peremptory nature of the final gunplay. In most of this group of films, the pivotal scene is elsewhere, in an 'epilogue', inspired by the transcendental conclusion of Bresson's Pickpocket (1950). (Schrader has written a book on a small group of directors, Ozu, Dreyer and Bresson, who have a particular world vision.)
Typically Schrader's most successful films have at their centre a social outsider, each of who needs to justify themselves, or to be justified. An unstable war veteran, a male prostitute, a burnt out paramedic: in turn they stumble through an insecure world, a personal earthbound hell, or "a world on fire." Schrader's cinematic somnambulists ultimately find belated grace in the eyes of providence. But when it arrives, it is inevitably achieved through the catharsis of violence, deliberately initiated or not.
Light Sleeper is apparently Schrader's favourite film, and perhaps his most personal. Full of religious overtones, it reflects his background and upbringing in ways that are less explicit in his other films. His parents were strict Calvinists (such was the home regime that it was not until he was 17 that he saw his first film).
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3 of 3 people found the following review helpful
5.0 out of 5 stars Schrader's Masterpiece from 1991 2 Sep 2013
Format:DVD|Verified Purchase
Schrader's masterpiece, a real life portrait of NYC before it became a yuppie haven. A story about personal discipline, trust in one's self and one's friends with a big time Bressonian payoff at the end. The story ( a drug dealer's life transition) is trite. The real story, about how trust and hope and the belief in outside grace can make life worthwhile, is deeply touching, suspenseful and joyous. Schrader had not presented this kind of payoff in a film since American Gigolo. It is among the most moving and comforting climaxes of any movie in the last 25 years and I've seen 90% of anything worth watching or even considering. With career best (including Last Temptation) performances by both Dafoe and Sarandon and a really decent widescreen transfer by Optimum (although no decent extras) any real fan who has missed this has missed one of the truly sublime moments in Paul Schrader's career. And you know that he is an artist who counts. Watch it, there is nothing to lose and everything to gain. In an article in Film Comment, Schrader lays down some groundrules for great cinema. One of them, which had not really resonated with me before, is repeatability. This is a film which one can watch over and over again with special friends and by oneself, and always receive a tremendous and positive emotional charge. See for yourself.
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2 of 2 people found the following review helpful
3.0 out of 5 stars Another dark night of the soul from Schrader 27 Aug 2006
By Trevor Willsmer HALL OF FAME TOP 100 REVIEWER
Light Sleeper is another one of Paul Schrader's nocturnal God's lonely men movies, although Willem Dafoe's drug runner is a lot better adjusted than Travis Bickle and has no delusions of divine purpose even if he does end up in another shootout en route to another of Schrader's 'Pickpocket' endings. The plot is fairly minimal: with his boss (Susan Sarandon - great legs, terrible 80s fashion sense) planning on going respectable and moving into cosmetics, Dafoe finds himself increasingly suspicious that he's going to be sold out on a permanent basis. This is more about character vignettes, many of them pretty good, as he works his way to a kind of redemption. There's one strikingly good piece of visual direction in a scene where Dafoe tries to talk to ex-wife Dana Delany, shot with a foreground pillar seemingly standing before them like an impenetrable wall, and there's a neat throwaway dismissal of the tenets of Calvinism delivered by David Spade's stoned yuppie, but while the film goes down easy it never adds up to much that we haven't seen before. The major change is the milieu - these may still be little people, but they sell to the nouveau riche and travel to drugs drops by chauffeur driven Limo. A good late-night movie, but it's no Bresson.
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