MoviesFlix | Amazon Prime Video The Vast of Night 2019 | Moviesflix Pro

A Electrician and DJ finds a Audio Frequency That Change The Future Forever.

MoviesFlix | Amazon Prime Video The Vast of Night 2019 | Moviesflix Pro
Image Source - Google | By Prime Video


In the late 1950s, a switchboard operator and radio DJ in New Mexico uncover an unusual audio frequency that has the potential to impact the future forever. Two children in the 1950s look find the source of a strange frequency that has settled on their village.

About the Movie:

MoviesFlix | Amazon Prime Video The Vast of Night 2019 | Moviesflix Pro
Image Source - Google | By Prime Video

In “The Vast of Night,” something strange happens  and continues to happen  somewhere in the 1950s in Cayuga, a fictional New Mexico town filled with growing shadows, cruising cars, and roaming youths. Everyone is on their way to the high school, where saddle-shod girls will soon be cheering on boys dribbling across the court. It's evening in America once more, and things are about to get a little murky, eerie, and strange.

“The Vast of Night,” a small-scale picture with a lot of cinematic force, is the narrative of a town, a country, and an afflicted state of mind that can feel dreadfully, fittingly, familiar. Fay (Sierra McCormick) and Everett (Jake Horowitz), his-and-her nerds as well-matched as salt-and-pepper shakers, are at its centre. They're curious, plucky, exuberant, and talkative, and they both work nights  she as a switchboard operator, he as a D.J. at the local radio station  which is why they're not at the game. (They're nice, but it's a comfort they're not romantically attracted to each other.)

When Fay first hears the sound, an unidentified and scratchy electronic throb, she is working alone at the switchboard. It's the big whatsit in the middle of an increasingly strange night marked by cryptically lost calls and flashes of light. A lady calls in, her strained voice falling in and out while a dog frantically barks and the sound creepily pulsates, yelling about something, the sky, her land (“we're going down the cellar”). Fay dials Everett's number from the station with a worried expression. He begs her to route it to the station so he can play it on the air since he thinks it'll make fantastic radio, a choice that quickly takes the plot into woo-woo territory.

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Director Andrew Patterson makes effective use of limited resources and a script by James Montague and Craig W. Sanger by setting much of the storey in claustrophobic rooms and spaces where the threat could come from any direction (including above). He has a lot of help the score and sound design are fantastic  as well as a good sense of how to confine characters and the eerie nature of long nights. The actors contribute some finesse to their genre roles, but the outstanding, supple camerawork consistently outshine them. Patterson, in collaboration with cinematographer Miguel Ioann Littin Menz, transforms the camera into an uneasy embodied presence, and as it takes flight, the film does as well.

Fay and Everett, like Nancy Drew and one of her Hardy Boys companions, follow down the sound, matching our perplexity and inquiries. They follow hints and rush through the night in an attempt to piece together a jigsaw that stays tantalisingly elusive. Something is clearly out there, but what is it? Given the time period, it's no wonder that Everett places his bets early on the Soviets, though you might be thinking of a different kind of alien invasion. The radio station's call letters  WOTW in glowing red letters indicate that whatever is threatening the town is similar to what terrified people in 1938 during Orson Welles' broadcast of "The War of the Worlds."

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“The Vast of Night” is significantly front-loaded, with a much stronger start than a solid finish. It begins with the camera paning toward a TV in an empty living room, where a show akin to "The Twilight Zone" is about to begin. A Rod Serling-like voice announces, "You're entering the area between clandestine and forgotten." The strobing blue visuals eventually give way to a denser, more vibrantly coloured film, which then takes off like a shot. This evocation of Serling, like the homage to Welles, sets the paranoid tone and serves as a reminder that one of our greatest national attributes is utterly frightening ourselves out with both imagined and genuine threats.

MoviesFlix | Amazon Prime Video The Vast of Night 2019 | Moviesflix Pro
Image Source - Google | By Prime Video

When you consider the budget and the fact that Patterson basically self-financed the film, the moments of technical virtuosity are incredible. There's a tracking shot down the main drag, around a corner, over some grass, past the power station, through the gym parking lot, into the crowded gym, and then out again. Another memorable scene is a ten-minute single-take scene in which Fay, at the switchboard, takes calls, makes calls, plugs wires in, pulls wires out, each call with a different agenda, all fueled by Fay's growing fear that something is very wrong "out there" in the vast night.

"The Vast of Night" is more than a style experiment. It isn't ironic in tone, and the genre isn't surrounded by quotation marks. The tail-finned vehicles, saddle shoes, cat-eye spectacles, and Sputnik references all position us in time, yet the period isn't dwelt on or degraded. Instead, we get a dense layer of atmosphere and texture, a peculiar and unsettling mood, and a strong sense of attachment to the persons we meet. By the end, the distancing choices taken at the start have only increased the sensations of intimacy and warmth.

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