Leonard Schrader Movies

A woman desperate to change her life takes a wrong turn into danger and degradation in this drama. In 1924, Stephanie (Mathilda May) is travelling to Buenos Aires with her husband, who is considerably older than her and in poor health. Stephanie is not happy with her life, so when a young woman named Alba falls overboard and drowns, Stephanie assumes her identity once the ship arrives in Argentina. Stephanie realizes that this was a terrible mistake when she learns that Alba was the mail-order bride of Zico (Esai Morales), a notorious pimp and mobster who puts her to work in a brothel that he operates with his family. A terrified Stephanie kills her first customer and is soon on the run from the police; she finds that she must return to Zico's criminal family for protection, where she is placed at the mercy of Cholo (Vincent D'Onofrio), the sensuous-but-brutal "King of the Tango." Naked Tango reunited Leonard Schrader, Manuel Puig, and David Weisman, who had worked together as screenwriter, book author, and producer on the international hit Kiss of the Spider Woman (1985). ~ Mark Deming, All Movie Guide

In Paul Schrader's unusual biopic, Ken Ogata stars as Yukio Mishima, perhaps the most celebrated Japanese novelist of the last five decades. The film begins with Mishima's youth, then moves forward in episodic fashion to his 1970 suicide, symbolically committed at a military site. Originally titled Mishima: A Life in Four Chapters, the film is neatly divided into a quartet of acts, and the screenplay does not flinch in its depiction of Mishima's hyperactive sex life. Among the many neat directorial touches is the decision to offer the narrative in black-and-white, while depicting scenes from Mishima's novels in vibrant color. Written off as self-indulgent by those impatient with Schrader's fragmentary technique, Mishima was produced in Japan by Francis Ford Coppola and George Lucas, an offshoot of Coppola's involvement with Japanese director Akira Kurosawa's Kagemusha. ~ Hal Erickson, All Movie Guide

While qualifying the United States as a "land of one million murders," director Sheldon Renan may have had too large a mass to handle in 90 minutes. Footage covers actual killings, interviews are conducted with killers like Sirhan Sirhan, and scenes of crazed hostage-takers are lifted from news broadcasts. Rather than an in-depth study of the reasons for and effects of the rising murder rate in the U.S., the director has chosen to emphasize the violence and the need for gun control to help lower the appalling amount of mayhem that distinguishes the U.S. from its European counterparts. ~ Eleanor Mannikka, All Movie Guide

Paul Schrader's directorial debut examines the trials of Detroit autoworkers living at the mercy of a heartless corporation and a corrupt union. Surviving from paycheck to paycheck, Checker Cab assembly linemen Zeke (Richard Pryor), Jerry (Harvey Keitel), and Smokey (Yaphet Kotto) scrape by and take pleasure in a few rounds of beer or bowling (and occasional illicit amusements). But when their money troubles pile up, Jerry and Smokey join Zeke in a desperate plan to steal cash from their local union office. Along with a piddling $600, they unexpectedly swipe evidence of union corruption. Deciding to use it for blackmail, the men discover instead how powerfully malevolent the union can be in a system that counts on petty divisiveness to keep the larger power structure intact. Inspired by stories of real-life disillusionment, Schrader and his brother/co-writer Leonard Schrader took on politically difficult issues of race and corporate labor, infusing the indictment of unions with a suggestion of post-Watergate paranoia about forces beyond the union that keep workers in their place. From the opening sequence of the assembly line to the final evocative freeze-frame, Schrader maintains an atmosphere of gritty realism, with the lead trio lending low-key dramatic force to a situation beyond their control. Too downbeat for a late '70s audience increasingly drawn to happier fare, Blue Collar flopped, yet it did earn Schrader critical accolades. Although he has reportedly since disowned the film, Blue Collar remains one of Schrader's best works, with Zeke and Jerry powered by the same sense of simmering frustration that would explode so effectively in Affliction two decades later. ~ Lucia Bozzola, All Movie Guide