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A man decides to turn his moribund life around by winning back his ex-girlfriend, reconciling his relationship with his mother, and dealing with an entire community that has returned from the dead to eat the living.
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Larry Flash Jenkins
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Vittorio De Sica
When a Paul enters his apartment to find Mary fighting off a swinger who has gotten into the wrong apartement (and thinks that Mary is just playing hard to get) he hits the man with a frying pan, killing him. Their dreams of running a small resturant seem to be in jeopardy until they decide to dispose of the body, keep the wallet, and to advertise for other sexually oriented visitors who are summarily killed, bagged, robbed and disposed of. This goes along quite well until one night a burglar named Raoul breaks in and cuts himself in for a piece of the action. Written by
John Vogel <email@example.com>
"Eating Raoul" proves that more than anything, good writing is what matters the most to make a quality film. Obviously a labor of love, the strength of the writing in this film is what made it an enduring cult classic and a milestone in independent cinema. Paul Bartel takes such grim and morbid subjects and alters them into a great comedy. The humor never comes across as being cruel at any moments. What makes the film work so well is that the protagonists, the Blands, are such sweet and likable people (not to mention the fact their victims are so degenerate and unlikable). You never feel ashamed for laughing because of this.
As I said above, the screenplay is a gem, but the rest of the film is pretty good all around. Paul Bartel and Mary Woronov are great in their parts. This is the film that made them cult legends. The direction by Bartel is good, keeping everything at a quick pace (the man knows a thing or two about comedic timing). The editing is rather uneven, but it lends to the homemade charm the film possesses. Twenty-five years later, "Eating Raoul" is still one of the most enjoyable (not to mention likable) black comedies ever made. The only real complaint I have is that the ending is a bit too abrupt (Bartel doesn't come up with a satisfactory one and it seems rather tacked on). (8/10)
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