The future is set for Tony and Michael - owning a neighbour- hood bar and making deals in the mean streets of New York city's Little Italy. For Charlie, the future is less clearly defined. ... See full summary »
Robert De Niro,
Rupert Pupkin is obsessed with becoming a comedy great. However, when he confronts his idol, talk show host Jerry Langford, with a plea to perform on the Jerry's show, he is only given the run-around. He does not give up, however, but persists in stalking Jerry until he gets what he wants. Eventually he must team up with his psychotic Langford-obsessed friend Masha to kidnap the talk show host in hopes of finally getting to perform his stand-up routine. Written by
Andrew Hyatt <firstname.lastname@example.org>
Martin Scorsese: Man in van - as Jerry Langford is walking across the street and is greeted by a woman at a phone booth where she wants him to talk to her nephew Morris, Scorsese can be seen in the driver's side of a green van. See more »
The TV sets in the store display window near the end, where Jerry Langford angrily watches the end of Rupert Pupkin's TV appearance, are all tuned to channel 3. There is no TV station in New York City on channel 3 (two major stations, WCBS and WNBC, are on channels 2 and 4 respectively). However, channel 3 was (and is) commonly used for connecting video devices such as home computers and videotape recorders to TV sets. The film crew most likely rigged a videotape player to the TVs to mimic a network broadcast, thus requiring them to be tuned to channel 3--a small detail that most audience members wouldn't have noticed. See more »
And now, from New York, The Jerry Langford Show! With Jerry's guests Tony Randall, Richard Dreyfuss, Rodney Dangerfield, Dr. Joyce Brothers, Lou Brown and the orchestra, and little old me Ed Herlihy. And now say hello to Jerry!
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Martin Scorsese and Robert De Niro seem to have taken a different road to arrive to very familiar places. Forttunately we're all in for the ride. This is a bitter, dark comedy in the tradition of Pietro Germi and Mario Monicelli. In Scorsese's hands it becomes something we've never seen before. De Niro travels unknown territory with the panache of a seasoned explorer. His Rupert Pupkin is a sub Jay Leno without an agent. His hunger is as shallow as his talent. The arrival to Jerry Lewis's house without an invitation trying to impress his girl is one of the most painful studies in modern humiliation ever put on film. I found myself laughing in horror. "The King of Comedy" is ripe for a revival. Some people consider it a "minor" Scorsese. I disagree. I think it's one of Scorsese and De Niro's best.
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