in the Special Night 5 drivers in 5 point of world telling their life story. non of them don't want to change. a girl that didn't want to be a actress and her wish only is mechanical. a passenger that with angry man and like to be herself even her name for others remember stupid thing. a black man in Paris,humiliated by black diplomats but a blind woman sees him better than other even brighter than himself when call an accident. and Rome and other driver with a priest passenger from 2 different idea with obvious paradox and another driver in Finland in a cold night and 3 dismal and drunk person with a delusion that they think that's the end of their sadness but driver only telling his life story and telling them that his sadness is bigger than their. Jim Jarmusch begins shooting movie in night and darkness that rules all over the movie and with a morning movie ends that says director has hope.

Jim Jarmusch creates 5 vignettes from around the world of cab drivers and their passengers. In Los Angeles, tomboy cabbie Corky (Winona Ryder) picks up Hollywood executive Victoria Snelling (Gena Rowlands) at the airport. In the end, Victoria offers Corky a movie role but she rejects it for her plans to be a mechanic. Winona is cute as a cabbie but very, very, very fake.In New York, YoYo (Giancarlo Esposito) can't get a cab to go to Brooklyn until Helmut Grokenberger (Armin Mueller-Stahl) picks him up. It's Helmut's first fare and he can't really drive. YoYo takes over driving and picks up YoYo's loud sister-in-law Angela (Rosie Perez). This is lotsa yelly fun. Armin is great, Giancarlo is terrific and Rosie is loud.In Paris, a cabbie from Ivory Coast (Isaach De Bankolé) is angry with passengers and throws them out. He picks up a blind woman (Béatrice Dalle) and they have a tough discussion. This is my favorite of the vignettes. I don't know who Isaach was at the time but he's amazing. In Rome, a cabbie (Roberto Benigni) is driving like a mad man and he picks up a priest (Paolo Bonacelli). He makes a lot of crazy confessions and then the priest dies. This one depends greatly on how much Benigni one can take. It's a bit too much for me.In Helsinki, a cabbie picks up three drunk guys. One of them was just fired from his job and then he passes out. This one is a fine sad story although it may work not as the last one. I would end stronger with the Paris one.

NIGHT ON EARTH (1991), the fourth film by American auteur Jim Jarmusch, is a series of vignettes centered around taxi journeys in the US and Europe over a single winter night. There is no overarching plot, but rather each segment is a study in interaction between the driver and his fare.In Los Angeles, Winona Ryder is a 16-year-old tomboy taxi driver and Gena Rowland is a Hollywood casting agent. In New York, Armin Mueller-Stahl is an immigrant from East Germany who gets a crash course on American culture after he takes Giancarlo Esposito and Rosie Perez to Brooklyn. Crossing the Atlantic, we first go to Paris where Isaac de Bankole, an Ivorian immigrant who faces the challenge of racism daily, picks up blind woman Béatrice Dalle who could care less what colour his skin is.The last two segments are less about class or race and more humorous and individual. In Rome, Roberto Benigni finds an opportunity to confess a long list of sins after he picks up priest Paolo Bonacelli. This is a hilarious scene, the most extreme part of the film. In Helsinki, Matti Pellonpää brings three drunks home (Kari Väänänen, Sakari Kuosmanen, and Tomi Salmela), but after they bemoan their misfortune, he tells them what real suffering is.NIGHT ON EARTH continues the characteristic choice of scenery that Jarmusch offered in his films to date. When so much cinema depicts the US as so many ritzy places and historical landmarks, Jarmusch instead offers vacant lots, dilapidated buildings, and businesses that have long since gone out of business. In Paris, Rome, and Helsinki he also offers nondescript, industrial or residential areas, quite deserted because it is the dead of night.This isn't a flawless film. The opening bit with Winona Ryder feels overacted. The Paris segment is nothing but clichés about how the blind might not see, but their other senses are more powerful than the sighted. The New York and Helsinki segments are homages to Jarmusch's peers Spike Lee and Aki Kaurismaki respectively, using their settings and borrowing some of their actors. While the New York scene has Jarmusch's characteristic humour, Jarmusch's style is almost completely effaced in the Helsinki scene and one could believe he's watching a Kaurismaki film.Nonetheless, this is a very enjoyable film. Virtually all audiences will enjoy Benigni's wacky comedy, and I've come to appreciate Matti Pellonpää's acting even more. I've seen NIGHT ON EARTH several times, and I've always found it to have re-watch value.

In what is possibly one of the most accomplished and ambitious films among Jim Jarmusch's quite extensive work, we are presented with five occasionally entertaining, humorous and moving stories which take place in five taxis, each driving through their respective cities at night. Inside these taxis characters of a wide assortment of personalities get to interact with each other. The acting is top-notch throughout the entire film, which adds to the real-life feel the film intends to portray. There are, however, a few negative aspects I feel compelled to point out. Because the film moves from one language to another, the audience, depending on their cultural background, native language, or even personal tastes, is bound to connect more with a particular story than the other. This is probably one of most notorious difficulties the film suffers from, as, for instance, the story starring Roberto Benigni most likely entirely differs from the mood of the previous ones and the last story; personally, this story was the one I liked the least, although it was entertaining, if maybe a little bit absurd at times. Also, changing from one story to the other might be a little bit abrupt, as you must immediately adapt to the new characters. Separately, every story works perfectly on their own, but having to watch them together in a 2-hour film might as well represent a heavy task for the viewer. Then again, this is also the strongest aspect of the film, as it succeeds in trying to depict a similar situation in 5 diverse environments. Do not get me wrong, the negative aspects that I pointed out are the ones I believe keep this film from being a complete masterpiece. All in all, the film is excellent, and it definitely should be viewed by anyone interested in cinema, as it is highly innovative.