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Robert De Niro,
Bill, Martha and their little child Hal are spending a quiet winter Sunday in their cosy house when they get an unexpected visit from Mike Nickerson and Tony Rodriguez. Mike and Tony are ... See full summary »
This is the funny story about two warring Mafia gangs in New York. The weaker gang use incredibly a lion to blackmail the opposite gang's "clients". The police succeeds to stop one of the gang, while the other remain without the Boss.
Jo Van Fleet
Marcus (Michael Brandon), a nice, rich, Jewish boy from New York, meets and falls in love with Jennifer (Tippy Walker), a girl from Oyster Bay, while they are both in Venice. He follows her... See full summary »
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Early DeNiro film casts him as a New York film editor working on a documentary about Nixon and spending a weekend with rich friends Warren and Mickey. Crawford enters their lives and proceeds to disrupt everyone
Robert De Niro,
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You know who first told him you were a genius? Guess.
Damn good of you, Pat.
Oh, no. If I admire a man, I say so. I want the whole world to know. Perhaps that's because I'm Irish. The Irish are a very warm-hearted people.
The Greeks are warm, too. I mean, try to find me a Greek communist. You couldn't find one.
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Kazan and Pinter's THE LAST TYCOON is disjointed, uneven, and strangely memorable -- rather like an oddly unsettling, hazily recalled dream.
Robert De Niro, in a quietly amazing performance, disappears into the title character of Monroe Stahr, a workaholic Hollywood producer who is, in Keats's phrase, "half in love with easeful death." (This understated movie is from the same year as De Niro's flashy bravura turn in Martin Scorsese's TAXI DRIVER.)
Most of the supporting cast is excellent, including Robert Mitchum and Ray Milland as a couple of Shakespearean-knavish villains, Jack Nicholson, Donald Pleasence, Theresa Russell, and Dana Andrews.
Ingrid Boulting is beautiful but somewhat less satisfactory as Stahr's love interest, Kathleen Moore. In fairness, however, her role is deliberately written as something of an enigma: Kathleen Moore is a blank movie screen onto which Stahr, a near-solipsist, projects fantasies and memories of his deceased wife.
The various elements of THE LAST TYCOON never quite cohere into a whole, but several scenes have stuck in my memory ever since I first saw it years ago. Among them:
Stahr's mock-lecture to the misfit screenwriter Boxley (Donald
Pleasence), beginning: "You've been fighting duels all day..."
Kathleen Moore telling Stahr, over the insistent crash of the surf at
his unfinished ocean-front mansion, "I want ... a quiet life"
Stahr's informal evening meeting with a labor-union organizer (Jack
Nicholson), during which the privately despondent movie producer grows increasingly drunk and belligerent; and ...
The closing ten minutes or so of the film, which take on an almost
surreal quality: Disembodied lines of dialogue from earlier scenes recur; Stahr repeats his earlier speech to Boxley, only now as a soliloquy addressed directly to the camera; and then -- murmuring "I don't want to lose you" -- he seems to hallucinate a vision of Kathleen as she moves on to a new life without him.
Only Jeanne Moreau and Tony Curtis struck me as jarringly miscast in their parts. They -- and their comic-pathetic scenes as insecure movie idols -- seemed to belong to another movie entirely.
THE LAST TYCOON is an uneven work but most assuredly has its merits.
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