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Conversations, touching moments make 'Smoke' memorable (*** 1/2)
News-Sentinel film critic
Often, I'll be talking movies with a friend or co-worker and they'll ask me if I've seen a certain movie. Every so often, they'll throw out an obscure title that I was convinced nobody else had seen, but one that certainly deserves a wider audience. These conversations about "treasure movies" are part of the reason I love talking about film so much; it's great to hear about a movie you've "gotta see," but it's even more rewarding when you discover that one of your buried treasures may not be quite so undiscovered after all.
Such is the case with Wayne Wang's "Smoke," a profound, quiet little sleeper from 1995 that I don't think about nearly as often as I should. I was reminded of it recently by a friend who was equally as convinced as I was that almost nobody else had yet uncovered this old-fashioned character drama, which he cited as an example of the kind of film they just don't make anymore. Of course, they do make them — it's just that hardly anyone ever hears about them.
"Smoke" is centered around the Brooklyn Cigar Co. operated by Auggie (Harvey Keitel), who runs his business with the intimacy of a corner pub and carries on fascinating conversations with his various loyal customers. (Their gab is so naturally interesting that it spawned "Blue in the Face," a sequel of sorts comprised entirely of these random exchanges.) One of his oldest patrons is Paul (William Hurt, in a great comeback performance), an artistically sapped writer who has never gotten over the death of his wife some years back.
There are several story threads contained in "Smoke," but perhaps the most interesting involves Paul's relationship with a wandering teen who calls himself Rashid (Harold Perrineau Jr. of TV's "Lost," who manages to be believable as a 16-year-old despite the fact that he was in his early 30s when the movie was shot). Rashid's search for his own past leads him to a one-armed mechanic named Cyrus (Forest Whitaker), and the scenes these two share together are possibly the film's most touching sequences (and believe me, there's some stiff competition).
It's been more than 10 years since I first saw "Smoke," but I will never forget the initial impression left on me by Whitaker, who was then a relative unknown to the public and a complete unknown to me personally. It's one of those performances that catches you completely off guard, and you're left wondering why the actor isn't more well-known considering the breadth of their talent. And I still remember the first thing I said to my viewing companion the minute the credits started rolling: "That guy's gonna win an Oscar some day."
"Smoke" is rated R for language.

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