Dark City

They built the city to see what makes us tick. Last night, one of us went off.

Release Date 1998-02-27
Runtime 100 minutes
Status Released
Watch

Overview

A man struggles with memories of his past, including a wife he cannot remember, in a nightmarish world with no sun and run by beings with telekinetic powers who seek the souls of humans.

Budget $27,000,000
Revenue $27,200,000
Vote Average 7.327/10
Vote Count 2971
Popularity 4.4147
Original Language en

Backdrop

Available Languages

English US
Title:
"They built the city to see what makes us tick. Last night, one of us went off."
Italiano IT
Title:
""
Français FR
Title:
"Un monde où la nuit ne finit jamais."
Português PT
Title: Cidade Misteriosa
"Eles construíram a cidade para ver como funcionamos. Na noite passada um de nós despertou."
Pусский RU
Title: Тёмный город
"«Ты не тот, кто ты думаешь»"
Türkçe TR
Title: Karanlık Şehir
""

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Cast

Crew

Reviews

John Chard
9.0/10
This review is of the Director's Cut. Welcome To Shell Beach. Dark City is directed by Alex Proyas who also co-writes the screenplay with Leon Dobbs and David S. Goyer. It stars Rufus Sewell, William Hurt, Jennifer Connelly, Kiefer Sutherland, Richard O'Brien and Ian Richardson. Music is by Trevor Jones and cinematography by Dariusz Wolski. A man wakes up in a grotty hotel bathroom and upon finding a dead girl in another room he realises he has no recollection of who he is or how he got there... There's a lot of Blade Runner fans still out there waiting for that film's sexual partner to happen along. What many of them don't realise is that Alex Proyas has already made that movie. More than a cult film yet still criminally ignored in certain circles, Dark City, by way of poor box office and studio interference, never got off to the best of starts. The problems were compounded with the release of The Matrix the following year, where that film's popularity, and its sci-fi linkage to Dark City, led many to think that Proyas' movie was a Matrix rip-off; pushing it further (unjustly) back in the sci-fi noir pantheon. Fact is is that Dark City homages much great cinema from previous years, but it has influenced much that followed, with Inception fans asked to note that Nolan himself was taking notes... Stolen Memories. Dark City is a feverish film noir dressed up in stunning sci-fi clothes. The amazing visuals have led many to state that it's a film with much style and little substance, something which Proyas has fiercely argued against; and he's right to do so, especially once his own preferred director's cut became available to view. The story is a complex one, pulsing with human characters living in a world where there is no daylight, with their respective memories scratchy to say the least, it quickly becomes evident that a creepy alien race are overseeing things. The aliens, wonderfully attired in black trench-coats and hats to match, and aided by Kiefer Sutherland's shifty - stammer affected - doctor, have special powers and their reasons for being here unfold in deftly constructed stages. One man stands in their way, John Murdoch (Sewell), but he is an olde noir amnesia sufferer supreme and his battle to unravel what is going on is our task as well. Do you think about the past much Mrs. Murdoch? The search for identity and the truth is what propels the picture forward. Murdoch in his confused state is not only at the center of an existential dilemma, he's also the focal point for a serial killer murder investigation. This also as he tries to come to terms with matters of the heart, it seems he has a beautiful wife (Connelly), and that she may have cheated on him? And why is he drawn to the place known as Shell Beach? A simple narrative hidden by visual splendours? Don't make me laugh! But hell you have to say the visual look and atmosphere of the design is very much attention grabbing. I have become the monster you were intended to be. With the film noir characters in place; Hurt's dour sleuth, Sewell's amnesiac and Connelly's sultry torch singer, Proyas brings German expressionism in abundance whilst overseeing an eye splintering neo-noir colour palette. Greens and reds often ping from the screen, while the murky browns and golds down on the angular city streets pave the way for changed perceptions and revelations of plotting. There are reoccurring motifs throughout, with swirls and circles integral to mood and meanings, while at the mid-point we then get to see Proyas' tricks of the trade, where the city shifts and moves to create a meeting of Metropolis and Gotham, all as the humans slumber away. Watch those clocks folks... You know how I was supposed to feel. That person isn't me... never was. You wanted to know what it was about us that made us human. Well, you're not going to find it... Acting performances are hardly top of the line (Sutherland especially irritates more than he impresses), but they actually don't need to be, and they all look terrific in their respective dressage. The story is of course bonkers and one which I myself found was much better whilst consuming mucho alcohol! (I watched it three times in 48 hours!) While Proyas himself is on record as saying it's a far from flawless picture. Again he is right, but he also knows that his film is still under valued and in need of more to seek out his director's cut. The late Roger Ebert championed Dark City with much gusto, and he provides very good input on the DVD, much like Roger I have to say, this is a unique and fabulous sci-fi noir experience. A film in fact fit to watch alongside Blade Runner; And I do not say that lightly. 9/10
Wuchak
7.0/10
**_Atmospheric, dark mixture of film noir, comic book horror and sci-fi_** A man (Rufus Sewell) wakes up one night to great mysteries: There's a dead prostitute nearby that he gets blamed for murdering, but he can't remember much of anything. Several people seek him in the ensuing night hours of the big city: a somewhat mad doctor (Kiefer Sutherland), a detective (William Hurt), his estranged wife (Jennifer Connelly), an alluring woman of the night (Melissa George) and a group of pale bald males in black trench coats. He tries to piece together reality and escape the perpetually dark city. Alex Proyas' "Dark City" (1998) takes place entirely on elaborate shadowy sets with CGI backgrounds, etc. The first time I tried to watch it I gave up after 20 minutes. But, if you're in the right mode, it's a cool sci-fi flick with elements of film noir and mystery/horror that is thought-provoking and never devolves into predictable blockbuster dreck. The revelations at the end are well done. In addition, Sewell makes for a top-rate protagonist and William Hurt is effective. Many complain about Kiefer's offbeat performance, but the role called for it. If you don't like it blame the writers. On the female front you have Jennifer Connelly when she was still curvy and ravishing (by the early 2000s she lost too much weight and thus her alluring appeal). Meanwhile Melissa George is gorgeous in her small role as a call girl. My interest in "Dark City" was spurred by Roger Ebert's exuberant accolades. He was so impressed by the illusion of the vast scope of the city, which can be attributed to the well-done CGI backgrounds and accouterments beyond the immediate exemplary sets. Of course, this is no big deal today, but at the time it was still fairly new technology. Some people compare "Dark City" to the more popular "The Matrix" and for good reason since they have similar themes and "The Matrix" was actually shot on some of the same sets, but that one came out over a year later in 1999. There are also similarities to "Gattaca," which debuted 4.5 months earlier in late 1997. "The Matrix" went on to mega-success at the box office while "Dark City" floundered despite its brilliant bits. Why? For me, the characters needed fleshed-out more with increased human interest. There's some, for sure, but not enough. As such, audiences in general found the film odd, perplexing and uncompelling. However, sci-fi aficionados should eat it up. It's superior to "Gattaca," but not as as good as "The Matrix." The film runs 1 hour, 40 minutes, and the Director's Cut 1 minute longer; it was shot on sets in Sydney, Australia. GRADE: B-/B
dfle3
10.0/10
Intriguing sci-fi This is one of my favourite movies of a spate of movies dealing with philosophical themes. This group would include The Matrix (reviewed here by me), The Thirteenth Floor and Gattaca. I saw this movie many years ago and it has stuck with me all this time. Don't be put off by my description of these movies as 'philosophical'-they are entertainment first and foremost. The philosophical theme of this movie is, I suppose, the old chestnut of nature versus nurture. Is there an 'essence' to human identity? To use a different example than that in the movie...if Hitler as a young child was reared in religious orphanage or some such, would he have ended up a jolly good chap? Or was he a bad seed who would still give forth rotten fruit? I suppose the flip-side of that would be how the Pope would have fared had he been placed in Hitler's circumstances. The movie deals with these kinds of themes in its own, intriguing way. I don't want to get into much more detail than this. I did read a review of this movie in the Halliwell film guide, I think, and was surprised how low it scored. Not sure, but perhaps the reviewer was misguided into thinking this film lightweight when it is so much more than that. Again, Halliwell seemed to give many poor reviews for movies that I would consider masterpieces, especially Australian movies like Mad Max 2 and Bad Boy Bubby. American snobbery perhaps? This is a terrific genre movie that should not be missed...along with the other movies that I mentioned above. [Originally posted on another site 3 June 2008 according to their dating.]
JPV852
9.0/10
This is one I probably haven't seen since the Director's Cut Blu-ray release in 2008 and while I liked it then, I now absolutely love it today. The cast and plot were wonderful to go along with the impressive visual effects, admittedly shrouded in darkness. I always like seeing Rufus Sewell playing a good guy as he's usually pidgeonholed playing either an A-hole or outright villain. Alex Proyas's Dark City is just a great sci-fi thriller that I actually place just behind The Matrix. **4.5/5**

Famous Conversations

BARBER: Mnunn. Cold lately. That night, couple weeks ago. That was real cold. Remember that?

WHITE: Not really...

BARBER: Yeah, Im like that. Senility says the wife. But she sure cant complain. Heh. The erector set still works good. And this aint no fucking rug! Ghead. Feel it! All mine!

WHITE: Sell maps?

BARBER: What of?

WHITE: The city. I need to get to the ocean.

BARBER: Nope. No maps. Ocean, huh? On vacation?

WHITE: I need something to keep me awake.

BARBER: Looks like you need a haircut to me.

WHITE: Thanks. Just some pills.

BARBER: Only two bucks. Shave as well...

COP: They don't speak English...

BUMSTEAD: How will we interrogate them?

COP: Well, sir... I don't know exactly.

COP: All the same entry wounds. It's definitely him. She lives... lived here. A prostitute.

BUMSTEAD: The other one?

COP: His wife.

BUMSTEAD: Jesus. Small world. Where's the photographer?

COP: No one available.

BUMSTEAD: What's he doing here?

COP: Says he is the man's doctor... You know...

BUMSTEAD: I know it's his doctor... I need the file on.. Daniel Paul Schreber M.D.

BUMSTEAD: How long have you been here?

COP: Maybe ten minutes... Thats strange.

BUMSTEAD: Spinning backwards?

BUMSTEAD: Was that for real down there?

SCHREBER: I'm afraid so.

BUMSTEAD: What is this place?

SCHREBER: You wouldn't believe me if I told you, Inspector. Have patience - you'll see for yourself.

SCHREBER: In there.

BUMSTEAD: Just like that?

SCHREBER: Please, they'll kill me...

BUMSTEAD: I think it's time you introduced us to your little friends.

BUMSTEAD: I met a friend of yours the other night, doctor. Tall fellow. No hair. Rather pale skin...

SCHREBER: I don't know what you're talking about.

BUMSTEAD: That's surprising. He was leaving your office at the time...

SCHREBER: You are mistaken.

BUMSTEAD: To tell you the truth, I'm glad we've run into each other like this. Maybe you can help me tidy some loose ends.

SCHREBER: Loose ends?

BUMSTEAD: You seem a little edgy. Everything okay?

SCHREBER: Yes, of course. Everything's fine...

BUMSTEAD: Doctor! What brings you here?

SCHREBER: Just visiting my patient.

BUMSTEAD: Really? And how is his state of mind?

SCHREBER: He's seriously disturbed...

BUMSTEAD: Police. Nobody move.

SCHREBER: He tried to kill me!

BUMSTEAD: Shut up! Everybody stay calm...

STROMBOLI: Bumstead, you're starting to annoy me. This case is very important to me. Just a little warning: I've got my eye on you inspector, remember that.

BUMSTEAD: Yes, sir.

BUMSTEAD: Yes, sir. I'm sorry... But I don't understand how it was possible. The only window was twenty feet up a vertical wall, he was cuffed...

STROMBOLI: How could you have been so stupid?

STROMBOLI: Yes. That's right. He's ill - he needs expert help.

BUMSTEAD: I see...

BUMSTEAD: Lost something?

STROMBOLI: What makes you think that! If you would learn to concentrate on facts, not get so side-tracked - you might get things done faster, Bumstead...

BUMSTEAD: Its extremely important to my investigation...

STROMBOLI: Ill be the judge of that. Anything else?

BUMSTEAD: Actually, I was wondering, sir, if you could let me have a few uniforms, to follow up for me...

STROMBOLI: Why do you want to speak to him?

BUMSTEAD: A hunch. He might be able to...

BUMSTEAD: What about Thompson, sir? Wasnt this his case?

STROMBOLI: Thompson suffered a kind of severe delusion or some damn thing. Anyway he isnt with us any longer. The case is yours. Go through his files. Take what you need. By the way, hows your mother?

BUMSTEAD: Shes getting better, thanks. She...

STROMBOLI: Why are you wearing that thing on your face?

BUMSTEAD: Germs, sir. These places are full of them.

STROMBOLI: I see. One things for sure, hes ambitious. Youll be a busy man from now on.

BUMSTEAD: Good evening, sir.

STROMBOLI: Yes. This way.

BUMSTEAD: I need everything on the Jonathan White case.

MISS CRENSHAW: Yes, sir. Everything?

BUMSTEAD: All the important stuff. Wrap it up for me.

BUMSTEAD: Who is it?

MISS CRENSHAW: Won't say. Says he must talk to you.

BUMSTEAD: Put it through...

BUMSTEAD: How can I submit this?

MISS CRENSHAW: Im sorry...

BUMSTEAD: Do you wash your hands before you type things?

MISS CRENSHAW: Why, yes.

BUMSTEAD: Well be more careful, please.

MISS CRENSHAW: It seems fine.

BUMSTEAD: Fine? Look here!

BUMSTEAD: You typed this report?

MISS CRENSHAW: Yes, sir. Anything wrong?

BUMSTEAD: Wrong? Look at this!

MISS CRENSHAW: Ive taken the liberty and had Inspector Thompsons office searched, as I believe you instructed. All clear now, sir. They found several more traps and things were filed under pretty strange categories... Poor man.

BUMSTEAD: Good.

MISS CRENSHAW: You wont regret this, sir.

BUMSTEAD: Fine.

MISS CRENSHAW: Im your new assistant.

BUMSTEAD: I didnt requisition a secretary.

MISS CRENSHAW: The Chief-Inspector thought you might need a hand.

BUMSTEAD: Dammit!

MISS CRENSHAW: Sorry, sir.

BUMSTEAD: Dont ever sneak up on me like that! Who are you?

MISS CRENSHAW: Patricia Crenshaw.

WHITE: What now?

BUMSTEAD: This ocean business... I know where I can find a map. I need to go back to the station. Where will you be?

WHITE: Where do you think this goes?

BUMSTEAD: It sure isn't the fun-fair.

BUMSTEAD: Go on.

WHITE: Well. The only thing I've been certain of, all this time, is that I need to get to the ocean. The point is no one seems to know how to get there.

BUMSTEAD: Why, that's ridiculous. You just...

BUMSTEAD: They didn't have faces.

WHITE: What?

BUMSTEAD: That's right. Just seamless flesh across the front of their heads. No mistake. I just hadn't remembered it that way. Up until then they had been normal little girls in my memory. That's not all. Once I started examining them, all sorts of things about my life, had... inconsistencies. It was like a game. I would think about a person or a place, or an event. Then I would turn the lights off. Sit down in a comfortable chair... And study each detail of this subject.

WHITE: People... after me.

BUMSTEAD: Who?

WHITE: I don't know who they are.

BUMSTEAD: Why are they after you?

WHITE: Don't know that either.

BUMSTEAD: Don't know much, do you?

BUMSTEAD: Why give yourself up?

WHITE: I - ah - couldn't think of anything else to do. I thought maybe you know something... I'm scared.

BUMSTEAD: That was a pretty good escape act at the station. How did you do that?

WHITE: I woke up in a subway. I don't know how I got there.

WHITE: Where are we going?

BUMSTEAD: Shut-up.

BUMSTEAD: But... How long has this been happening?

THOMPSON: A few days... a few weeks - dunno, I can't remember. Worse thing is, I never know if it will change back again... Now, please leave me alone.

BUMSTEAD: Jesus! We have to get you to a doctor...

THOMPSON: No... No doctor...

THOMPSON: They've taken my mind, my memories...

BUMSTEAD: What? Who has?

THOMPSON: Is that your idea of a joke? I don't remember... Take my advice, Bumstead. Get off this case. Now.

BUMSTEAD: What is going on?

THOMPSON: Can't let you in... sorry.

BUMSTEAD: I'm on the serial killer case, need to talk.

THOMPSON: Not that. Anything else.

WHITE: You see it?

KARL: Yes.

WHITE: Where does it lead?

KARL: It must be a closet or something.

KARL: Such a joker! Like your father.

WHITE: No. Have a look.

KARL: Look! This is a good one!

WHITE: What is that door?

KARL: Which one?

WHITE: There. Behind the cabinet. Where does it go?

WHITE: I didn't realise...

MISTER BLACK: Shut up, freak! Monster! You are insignificant.

MISTER BLACK: A book of delusions. Anything else?

WHITE: But I...

MISTER BLACK: I see. The verdict, yes...

WHITE: Wait, this isn't fair...

MISTER BLACK: A fanciful idea, Mister White.

WHITE: Everyone has a job - a function. Each one teaches you more about your invention. I'm what is called a murderer.

PRIEST: Dont kill me!

WHITE: Shut up!

PRIEST: Please...

PRIEST: I see. Then who is after you? What sins have you committed?

WHITE: Just let me sit here for a moment? Ill go soon, and stop bothering you.

WHITE: Someones after me.

PRIEST: Then we must call the police.

WHITE: No. I mean... that isnt necessary.

WHITE: No. I, ah...

PRIEST: You seem restless.

WHITE: What is it?

SCHREBER: We are... living in their dreams...

WHITE: What happened to you?

SCHREBER: I'm... being... punished.

WHITE: What are you hiding?

SCHREBER: Nothing. I don't know anything!

WHITE: It's a trick.

SCHREBER: No it isn't. You are doing it! Now raise it over the glass and...

WHITE: You've been working too hard.

SCHREBER: Please! Don't be foolish! Time is short. Let me show you something. Look at this syringe.

WHITE: Why?

SCHREBER: Don't ask stupid questions. Look at it.

SCHREBER: If you would only take this, inject it in your brain, everything would be much clearer.

WHITE: Not that again...

SCHREBER: Everyone get's one - very much like this... But this one's special. It will help you understand, everything...

WHITE: You're a liar!

SCHREBER: No, it's the truth.

WHITE: So you're telling me the truth this time? Is that it!

SCHREBER: What are you doing?

WHITE: I have to go...

SCHREBER: You can't go yet. We've got so much to talk about...

WHITE: I'm sorry. About before.

SCHREBER: I don't blame you for getting angry. You are in a frustrating situation. You must be patient though. Trust me completely. I'm here to help.

WHITE: Can I get my life back?

SCHREBER: Maybe.

SCHREBER: We are little more than a sum of memories. From them we reference who we are, where we're going. Without a past we are nothing. This is why you are so interesting.

WHITE: I'm nothing then.

SCHREBER: Anything but, my friend.

WHITE: Horrible...

SCHREBER: You remember nothing, eh? Let me show you something.

WHITE: Did she drown? The woman you told me about?

SCHREBER: Not exactly. She was found in a canal, disembowelled. Throat cut. Blood drained. The body wrapped in a bed-sheet.

SCHREBER: I cannot say... You don't know the answer to that?

WHITE: I told you, I can't remember a thing!

WHITE: Known me for long?

SCHREBER: Well...

SCHREBER: If you like.

WHITE: You're supposed to be my doctor, right?

SCHREBER: That's right. I am your doctor.

SCHREBER: Bad dreams?

WHITE: Yes.

SCHREBER: Tell me about them...

SCHREBER: What does she say? The woman.

WHITE: Asks my name. Over and over. Just like a broken record. Only thing is, I can't answer. I've no idea what my name is.

SCHREBER: Your name is John White.

WHITE: That's what people keep telling me.

SCHREBER: You remember nothing? Who you are? What you've done?

WHITE: You know something about me?

SCHREBER: Ah, that would be cheating, wouldn't it? Is there nothing you remember? Not even a detail? You must try.

WHITE: You think I haven't been trying! It's like there was never anything there. Just water.

SCHREBER: Water?

WHITE: Waves... A beach. A woman whispering. That's all. I need to stay awake. Do you have any pills?

WHITE: How do I get there? Tell me.

WIFE: That's easy. You...

WHITE: I thought it would make more sense. I'm getting the pieces, but when I put it together it feels like... Like you're telling me about somebody else's life...

WIFE: It's the truth... I need you. I know you're innocent.

WHITE: How do you know I'm innocent?

WIFE: Of course you are. You couldn't do those terrible things. Come home with me - maybe things will make sense then...

WHITE: I can't do that. It's dangerous. What about my parents? Do you know where I can find them?

WIFE: They're dead, John.

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