After developing an addiction to the substance he uses to kill bugs, an exterminator accidentally kills his wife and becomes involved in a secret government plot being orchestrated by giant ... Read allAfter developing an addiction to the substance he uses to kill bugs, an exterminator accidentally kills his wife and becomes involved in a secret government plot being orchestrated by giant bugs in a port town in North Africa.After developing an addiction to the substance he uses to kill bugs, an exterminator accidentally kills his wife and becomes involved in a secret government plot being orchestrated by giant bugs in a port town in North Africa.
- Awards
- 13 wins & 17 nominations
Joseph Scoren
- Kiki
- (as Joseph Scorsiani)
Louis Ferreira
- Exterminator #3
- (as Justin Louis)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaThe movie is packed with characters based on real people and events from the life of Burroughs. Like Bill Lee, William S. Burroughs was an exterminator and drug addict, who accidentally shot his wife during a drunken game of "William Tell". Joan Lee is based on Joan Vollmer, Burroughs' deceased wife. Hank and Martin, Bill's fellow writers, are Jack Kerouac and Allen Ginsberg. Burroughs moved to a section of Tangier, Morocco, known as the "International Zone", hence "Interzone". Tom Frost is based on Paul Bowles, and Kiki was the name of a young man Burroughs had a same-sex affair with in Tangier, while writing "Naked Lunch".
- GoofsThe glass shot off Judy Davis' head changes to a plastic glass. First instance as the glass is falling off her head after the shot and then at end of film it is a plastic glass Ms Davis balances on her head. It remains plastic until it falls to floor and changes back into glass.
- SoundtracksVaya Con Dios
Composed by Larry Russell / Inez James / Buddy Pepper
Performed by Les Paul and Mary Ford
Courtesy of Capitol Records
Featured review
Inside the Internal Speaker
God, I like Cronenberg. I like his commitment. I like his designs. I like the fact that he deals straight and heavy.
I even like the feel of this movie while at the same time noting that it fails, at least it fails if you consider the value of the book.
The book is one of many that deals with the sliding overlap between one reality and another. I welcome any of these. And this is particularly attractive because of the animate typewriters-become-agent-controllers. These are much more visceral in the film. But the book made much of the scintillating overlap, the typed page that touched the earth from time to time that we would literally hold in our hands to assure us that there was a reality.
Cronenberg has none of this. As with all his films, there is one world, and he invests heavily in making it real. So we see ourselves, the typewriter that takes control, that provides the trance, the words, the enticement toward perversion of several types and its means. Cronenberg's slip into alternative universes is slippery only one way; he won't let us come home. I admire this, because I would rather see passion invested by an artist than compromise for something as trivial as effect. But here, I do miss the effect.
Judy Davis is her usual sublime self. The character (actually two, sortof) is a mess and is never anchored. But she herself is, outside the film. Her character's role is crucial to the thing, a sort of fulcrum around which the real and hallucinogenic revolve. Sex, meaning, holding onto the world. She accomplishes this not through the character, but the solid soul of the actress which shines through. Who else can do this? No one I know.
Ted's Evaluation -- 3 of 3: Worth watching.
I even like the feel of this movie while at the same time noting that it fails, at least it fails if you consider the value of the book.
The book is one of many that deals with the sliding overlap between one reality and another. I welcome any of these. And this is particularly attractive because of the animate typewriters-become-agent-controllers. These are much more visceral in the film. But the book made much of the scintillating overlap, the typed page that touched the earth from time to time that we would literally hold in our hands to assure us that there was a reality.
Cronenberg has none of this. As with all his films, there is one world, and he invests heavily in making it real. So we see ourselves, the typewriter that takes control, that provides the trance, the words, the enticement toward perversion of several types and its means. Cronenberg's slip into alternative universes is slippery only one way; he won't let us come home. I admire this, because I would rather see passion invested by an artist than compromise for something as trivial as effect. But here, I do miss the effect.
Judy Davis is her usual sublime self. The character (actually two, sortof) is a mess and is never anchored. But she herself is, outside the film. Her character's role is crucial to the thing, a sort of fulcrum around which the real and hallucinogenic revolve. Sex, meaning, holding onto the world. She accomplishes this not through the character, but the solid soul of the actress which shines through. Who else can do this? No one I know.
Ted's Evaluation -- 3 of 3: Worth watching.
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Details
- Release date
- Countries of origin
- Languages
- Also known as
- David Cronenberg's Naked Lunch
- Filming locations
- Toronto, Ontario, Canada(Studio, only interiors)
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $16,000,000 (estimated)
- Gross US & Canada
- $2,641,357
- Opening weekend US & Canada
- $64,491
- Dec 29, 1991
- Gross worldwide
- $2,641,357
- Runtime1 hour 55 minutes
- Color
- Sound mix
- Aspect ratio
- 1.85 : 1
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