A suicidally disillusioned liberal politician puts a contract out on himself and takes the opportunity to be bluntly honest with his voters by affecting the rhythms and speech of hip-hop music and culture.
Two terrible lounge singers get booked to play a gig in a Moroccan hotel but somehow become pawns in an international power play between the CIA, the Emir of Ishtar, and the rebels trying to overthrow his regime.
Porter Stoddard is a well-known New York architect who is at a crossroads... a nexus where twists and turns lead to myriad missteps, some with his wife Ellie, others with longtime friends ... See full summary »
Senator Jay Bulworth is facing speculation-induced financial ruin, so he puts out a contract on his own life in order to collect a large, new insurance policy for his family. Living each moment on borrowed time, he suddenly begins spouting raw, unfiltered--and sometimes offensive in word but satirical in spirit -- thoughts to shocked audiences and handlers in the speech of hip-hop music and culture. His newfound uninhibitedness and new relationship with Nina carry him on a journey of political and spiritual renewal. Written by
The word "fuck" and its derivatives are used 111 times. See more »
When Bullworth arrives with the ribs in the bar, Compton, Murphy and the other assistant switch places between shots. See more »
[Feldman and Murphy are concerned about Bulworth's rapping]
You know something? We had a next-door neighbor who would lose her mind from time to time. What was weird when she got like that was this: she could only speak in song lyrics.
Sen. Jay Billington Bulworth:
Murphy, Feldman, you're lookin' pretty beat / I thought you might feel better with some ribs to eat / Eat 'em, gentlemen, you'll think they're really fine / And if you want a couple more you can get 'em anytime!
I am incredibly frightened.
See more »
For the song "Bulworth Breakdown", the title character Jay Bulworth is credited as a writer and performer. See more »
Bulworth (They Talk About It While We Live It)
Written by Larry Muggerud (as L. Muggerud), Kam (as C. Miller), KRS-One (as C. Parker), Prodigy (as A. Johnson), Method Man (as C. Smith)
Performed by Kam (as KAM), Method Man, Prodigy, KRS-One
Produced by Larry Muggerud (as MUGGS) for Soul Assassins, Inc.
KAM appears courtesy of Royal Entertainment/University Records/Interscope
Method Man appears courtesy of Def Jam Records
Prodigy appears courtesy of Loud Records
KRS-One appears courtesy of Jive Records See more »
Bulworth was released quite a few years ago, but it is still (if not more) relevant today. It merges two "cultures," one being the rich white class culture, and the other being the urban lower class culture, and ends up with many universal ideals. The story's hero is Jay Billington Bulworth, portrayed brilliantly by Warren Beatty. I think some people have a problem with the fact that he is...well, more or less insane, but that is possibly the most important thing about the character. You could call him insane, but if you look at it more romantically, perhaps he is "posessed" by the "spirit" of social justice, a mere vessel for the truths that need to be told. He is a character unaware of the significance in what he is saying. To him, if he's not completely insane, he's simply a man who broke down and decided to tell it like it is (ala Peter Finch in Network, but with rapping and rhyming). There's something actually kind of mystical about all this.
Since it would be way too preachy if that's all there was to the story, there's some other aspects that make for an entertaining viewing. Bulworth, in his depression and anxiety, hired a hit-man to "off" him so his family could collect the life insurance. Once his speeches and raps become a success, this is obviously a big problem since he wants to live again ("You should never make life and death situations when feeling suicidal"). There is a love interest with a girl named Nina, played by the lovely Halle Berry. You don't know if you can trust her, and her intentions are unclear.
There is also a fine supporting role by Don Cheadle, who plays a "business man" who uses young children to sell drugs. His character does bring up some valid points, and we're forced to really put ourselves in his shoes. He's doing what he feels is right, but ultimately, the ends don't justify his means.
With a movie that has so much going on, it would probably be difficult for the filmmakers to figure out a way to wrap everything up, right? Unfortunately, yes. Bulworth ends pretty abruptly and leaves with the film's message being half-assedly shouted at the screen. The last act is a huge flaw in an otherwise perfect movie.
Bulworth is a hilarious comedy and it heralds something truly special and unique. It is not a film to be taken for granted or forgotten. It's a quintessential example of a 'contemporary classic' for our generation. I have no doubt that over the next decade or so, people will want to revisit it and examine the politics and the cultures; it should be studied in classrooms, it should be valued. I loved Bulworth!
My rating: 9/10
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