Given the current popularity of storylines with multiple interwoven plots, it was probably inevitable that this once-popular ’70s play would be adapted to the screen. Three men from three different social classes, whose paths cross only tangentially, wind up in adjacent hospital beds. Shot on digital video for Chilean TV, “Three Nights” has a dense, overcrowded feel, piling up one-dimensional characters in overcharged situations and never quite transcending its initial stage setups. But pic’s old-fashioned meller grounding, tarted up in high-concept flash, might win it a slot on Latin cable.
Script establishes a predictable, class-coded degree of likability: the lower on the totem pole the characters, the sweeter their interaction and more uncalled-for their calamities. Thus a sailor on a 24-hour leave with his girlfriend and the baby he’s never seen becomes the innocent victim of crazed soccer fans. Ruthless if covert company politics lurk behind the drunken orgy celebrated by four middle-management office mates, wherein one attempts suicide. And, at the top of the heap, a rich couple’s dinner party turns into a vitriolic public unmasking of sexual infidelity, ending with the wife “accidentally” running over her faithless husband.