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 »
David Merrill (Robert De Niro), a fictitious 1950s Hollywood director, returns from filming abroad in France to find that his loyalty has been called into question by the House Committee on... See full summary »
Robert De Niro,
During shopping for Christmas, Frank and Molly run into each other. This fleeting short moment will start to change their lives, when they recognize each other months later in the train ... See full summary »
Robert De Niro,
Due to the lack of men after the Civil War, a small western town allows a bachelorette with ulterior motives to save a horse-thief from the gallows by marrying him. They must deal with his old gang, the sheriff, the bank - and each other.
Ingrid Boulting's hairstyle changes between the scene with the performing seal and the scene at Monroe's uncompleted beach house. See more »
[about returning to school]
Oh, I don't know. I'm pretty well educated.
Maybe I should get married.
Well, I'd marry you, I'm lonely, but I'm too old and tired to undertake anything.
See more »
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.
23 of 28 people found this review helpful.
Was this review helpful to you?