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Light Sleeper (1992) 1080p YIFY Movie

Light Sleeper (1992) 1080p

Light Sleeper is a movie starring Willem Dafoe, Susan Sarandon, and Dana Delany. A drug dealer reconsiders his profession when his boss plans to go straight and an old flame reappears.

IMDB: 6.92 Likes

  • Genre: Crime | Drama
  • Quality: 1080p
  • Size: 1.62G
  • Resolution: 1920*1080 / 23.976 fpsfps
  • Language: English
  • Run Time: 103
  • IMDB Rating: 6.9/10 
  • MPR: Normal
  • Peers/Seeds: 20 / 89

The Synopsis for Light Sleeper (1992) 1080p

A drug dealer with upscale clientele is having moral problems going about his daily deliveries. A reformed addict, he has never gotten over the wife that left him, and the couple that use him for deliveries worry about his mental well-being and his effectiveness at his job. Meanwhile someone is killing women in apparently drug-related incidents.


The Director and Players for Light Sleeper (1992) 1080p

[Director]Paul Schrader
[Role:]Susan Sarandon
[Role:]Dana Delany
[Role:]Willem Dafoe
[Role:]David Clennon


The Reviews for Light Sleeper (1992) 1080p


Guess it's time to revisit "American Gigolo"...Reviewed bybobwestal-2Vote: 9/10

Just wanted to add my two cents worth, mainly regarding where I differ from the other comments.

A few folks complained that the ending was too similar to "American Gigolo" (and may have been, in turn, lifted from a nameless French film).

Well, I haven't seen "Gigolo" since it came out. (At the time, I remember liking it a lot more than most of my friends and most of the critics. I'm a sucker for redemption stories, I guess.) In any case, I've long since forgotten the ending, so that may explain why I found myself so moved by the ending of "Light Sleeper."

I also enjoyed the fact that it wasn't easy to see where things were heading, either in terms of plot or emotions.

But, the tradition of rather strange flaws in Schrader's movies continues, this time a god-awful musical score (sort of 90's era-Springsteen mixed with Robbie Robertson, but in a bad, bad way) that could have destroyed the movie for me -- if it weren't so superb in every other way.

The cast is consistently good and it's nice to see Mr. Intensity, Willem Dafoe, portray an essentially sweet natured, though intense, person for a change -- but I was especially entranced by Susan Sarandon's work toward the end of the film.

I understand that idea of the "drug dealer with heart of gold" may seem like an oxymoron -- but that's part of the point of the film, that our commonplace ways of characterizing our fellow man may not be all that terribly accurate in all situations.

In this light, there's an interesting scene about half-way through the film where a homicide detective questions Dafoe. The dialogue, and even the acting, could have been taken from a thousand movie scenes where a detective questions a sleazy dope peddler -- Dafoe even takes on the traditional body language that we associate with such characters. It's almost as if Dafoe wandered into a more traditional movie starring the detective.

But, knowing what we do about Dafoe's character and why he's not being forthcoming changes entirely the way we view the scene.

Good stuff.

Seedy charmReviewed byIForgotMyMantraVote: 8/10

Typically seedy Schrader movie but worth sticking through. The plot is standard fare (dealer/addict wanting to go clean) and the beginning portion is rather grim but it all gets going soon enough. The noir atmosphere is effective and useful in reflecting the state of mind of the characters. Once the mystery starts, the plot engages although the mystery isn't as suspenseful or as clear as it could be. Still, Dafoe's strong performance as well as Sarandon's carry things along nicely. In spite of the lack of mystery, there's still some genuine intrigue (who will betray him?) in the plot as well as that potent mood make this one of Schrader's best.

Reviewed byjohnnyboyzVote: 7/10/10

Paul Schrader's love/hate relationship with close to down-and-out maleindividuals living in New York City continues in 1992's Light Sleeper.Schrader casts a dim eye on most of the proceedings in the place, buthis revisiting of New York City in Light Sleeper, and whateverknowledge past you have of 1976's Taxi Driver, shows a clear fondnessfor the place; a fondness to keep going back and exploring newcharacters, operating under new situations and working with newproblems floating around inside of their heads. In Light Sleeper'scase, it is Willem Dafoe's John LeTour, a middle aged man whom dealsdrugs; meets some pretty desperate individuals in the process; cannotconnect that well with the women he wants most; is stalked by policemen and generally tries to balance his on-going loneliness with hisinability to really find his place in life.

Light Sleeper is a wonderfully down to Earth and thoroughly intensefilm. With hindsight, one might think of it as a Trainspotting withoutall the hyper-kinetic energy. The film begins, quite literally, with afocusing on a road as we flow through New York; this is beforedeveloping into a ground level documentation of life flitting betweenstreets, apartments that inhabit drug users and dealers, grottynightclubs that house further users plus hotel suites which spelldanger. The easy way to summarise the male lead we're given in LightSleeper would be a comparison to Taxi Driver's Travis Bickle, as pennedby Schrader. LeTour is a loner; he keeps a diary, although possessesbetter handwriting skills; attempts to talk and follow women he simplycannot have; and generally wanders. There is even room for thecharacters to pay reference to the rain at certain times, and itsimportance. Like Taxi Driver; the film is a gathering, only not of anindividual's visions of what's around him, but of the interactions andof the people that exist around him.

This idea is best explored in a scene set in a hospital. LeTour isvisiting the mother of a certain Marianne Jost (Delany), as anotherrelative, whilst in the intensive care room, sits asleep in a chair.LeTour walks in and sits down. The camera freezes on him sitting there,almost certain death in the air by way of the dying mother and the factthere are those he hands drugs out to whom will perish at some point inthe near future. It's only after a while that he glances over at therelative, and it's only then that the camera will slowly track left toencompass, indeed recognise, she's even sitting there. It's aninteresting touch by Schrader, and reminiscent of Taxi Driver by beinga sort of polar opposite: we see, indeed recognise, what LeTour seesbut only until HE does so first. We do not get it in that raw,unflinching and 1st person style the 1976 masterpiece delivers, but wedo get it in some manner of speaking.

Light Sleeper knows what it is and knows exactly how it wants tounfold. The film isn't a conventional thriller, of sorts, about a drugdealer and a world of crime and the interactions that go on, even if itdoes end in a conventional manner by way of a bloody shootout. Rather,the film is a stark character study of a man on the way out; of a manwasting his life away through drugs, not as a junkie – something LeTourstresses to certain people he meets, but as a dealer and that anyrelation you might have to the stuff will most probably end you up invery bad shape. As a raw character study, we pick the lead up in hislate thirties and cover him for about a fortnight. The damage has beendone; we learn of his past troubles and whatever back-story we requireby way of speech to other people, and we learn it all at regular, verywell spaced intervals.

The film's attention to LeTour's element of unrequited love in his lifeis additionally well handled, somewhat seamlessly incorporated into thetext by way of a series of nervous and unfortunate encounters. We firstmeet the aforementioned Marianne when LeTour's chauffeur driven saloonstops to pick her up out of the wet. By way of Dafoe's wonderfulacting, LeTour is juddery and the professionalism driven image that wehave of him up to this point, by way of short sharp encounters andknowing exactly what to say to different sorts of lowlifes, isshattered somewhat when he lies to her about continuing dealing drugsand screws up the whole interaction. The lyrics in the music and themanner in which the character regresses over a photo-album in thefollowing scene could have been explored and executed in a far worse-amanner. The film's remaining scenes of obsession and rejectionsurrounding these two are well incorporated into the text.

I think Light Sleeper's crowning glory is its real attention to thefiner things. There's a scene in which LeTour's consistentlyoutrageously dressed female drug contact Ann, (Susan Sarandon, freshoff a wonderful role in Thelma and Louise) who is the the person thatsupplies all of the drugs to LeTour along with Robert (Clennon), fromtheir pseudo-upper class decorated apartment, asks LeTour for a lunchmeeting the following day. I got an odd sensation after the interactionhad ended that a lesser film would cut straight to the lunch: person'A' proposes something to person 'B'; person 'B' accepts and then wecut to the rendez-vous. Light Sleeper rejects the causality, opting fornotions, interactions and ideas to rest on the back-burner whilst thelead carries on for a while interacting further with other peoplebefore the day is out. Make no mistake, there'll be no light nappingduring this picture.

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