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The plot of this movie, like smoke itself, drifts and swirls ethereally. Characters and subplots are deftly woven into a tapestry of stories and pictures which only slowly emerges to our view. This film tries to convince us that reality doesn't matter so much as aesthetic satisfaction. In Auggie's New York smoke shop, day by day passes, seemingly unchanging until he teaches us to notice the little details of life. Paul Benjamin, a disheartened and broken writer, has a brush with death that is pivotal and sets up an unlikely series of events that afford him a novel glimpse into the life on the street which he saw,...
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but did not truly perceive, every day. Finally, it's Auggie's turn to spin a tale....
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De eigenaar van de sigarenwinkel neemt al 14 jaar lang voor zijn winkel elke dag op hetzelfde uur een foto. Een romanschrijver krijgt, sinds zijn vrouw op straat vermoord werd geen letter meer op papier. Een zwarte jongen verandert zijn naam en identiteit voor iedereen die hij ontmoet. Een man probeert zijn verleden te vergeten nadat hij de vrouw van wie hij hield verliest. Een vrouw keert na de vele jaren terug naar haar vroegere vriend en vertelt hem dat ze samen een dochter hebben en dat die nu problemen heeft. Al deze mensen lijken weinig met elkaar gemeen te hebben. Maar door een stom toeval kruisen ze elkaa...
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rs paden en hebben ze een onuitwisbare invloed op elkaars leven.
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In 1990, novelist Paul Auster was asked to contribute a Christmas story to the New York Times. The resulting piece, "Auggie Wren's Christmas Story," forms the basis for his screenplay for SMOKE. Directed by Wayne Wang and set in a Brooklyn cigar store, Auster expanded the story to include four other characters whose lives intertwine with Auggie Wren's. As Auggie, the manager of the store that serves as a neighborhood meeting place, Harvey Keitel gives a restrained, mellow performance. The other characters, Paul (William Hurt), a blocked writer; Rashid (Harold Perrineau Jr.), a troubled youth; Ruby (Stockard Chann...
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ing), Auggie's former lover; and Cyrus (Forest Whitaker), Rashid's long-lost father, form a web of relationships over a few summer days. Auster, who had previously adapted his novel THE MUSIC OF CHANCE into a taut script, here exhibits a loose, almost improvisational style as he lets his characters simply talk about their lives. Wang eschews the big, somewhat melodramatic style he used in THE JOY LUCK CLUB for relaxed, natural direction that allows the actors, who are all terrific, to project an everyday realism seldom seen in American movies. The actual Christmas story appears at the end in a beautiful black-and-white montage, accompanied by a bittersweet Tom Waits song.
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A Brooklyn cigar shop is the setting for this drama from director Wayne Wang that interweaves the stories of several characters that have fractured family relationships in common. Harvey Keitel is Auggie Wren, poetic owner of the Brooklyn Cigar Company, a store that he considers the center of the world -- a place where all of humanity eventually parades through. One of his regular customers is Paul Benjamin (William Hurt), a writer and a broken shell of a man whose pregnant wife was shot and killed near the store. When Paul's life is saved one day by a young black man named Rashid (Harold Perrineau, Jr., the writ...
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er and his rescuer strike up a friendship and begin searching for Rashid's long-lost father (Forest Whitaker). At the store, Auggie is surprised by the appearance of Ruby (Stockard Channing), an ex-girlfriend who informs him that her pregnant, drug-addicted daughter Felicity (Ashley Judd) may also be his -- and is in dire need of help. Screenwriter Paul Auster based the script for Smoke on a 1990 short story he wrote for "The New York Times." He also wrote and directed the film's sequel (of sorts), Blue in the Face (1995).
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