This documentary captures the life story of legendary Hollywood producer and studio chief Robert Evans. The first actor to ever to run a film studio, Robert Evans' film career started in 1956, poolside at the Beverly Hills Hotel. His good looks, charm and overwhelming confidence captured the eye of screen legend Norma Shearer, who offered him a film role. After a glamorous--but short-lived--career as a movie star, Evans tried out producing. At the age of 34, with no producing credits to his name, he landed a job as chief of production at Paramount Pictures. Evans ran the studio from 1966-1974. During his tenure, he was responsible for such revolutionary films as The Godfather, Rosemary's Baby, Love Story, The Odd Couple, Harold and Maude and Chinatown. By the early '80s, the Golden Boy of Hollywood was losing his luster. After a failed marriage to Ali MacGraw, a cocaine bust and rumored involvement with the Cotton Club murder, he disappeared into near-obscurity. Only through ... Written by
Sujit R. Varma
The title comes from a line attributed to studio head Darryl F. Zanuck. Several of the actors involved in the film The Sun Also Rises (1957) (as well as author Ernest Hemingway himself) had insisted Evans be removed from the cast. Zanuck refused: "The kid stays in the picture! And anyone who doesn't like it can quit!" See more »
The closing credits say that Evans has been at Paramount for over 35 years, "more than any other producer on the lot." However, A.C. Lyles has been with Paramount for 75 years (as of 2003), though he is no longer actively producing. See more »
There are three sides to every story: Your side, my side, and the truth. And no one is lying. Memories shared serve each differently.
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Tosca - Vissi d'arte, vissi d'amore (aria)
Written by Giacomo Puccini (as Puccini)
Performed by Orchestra dell'Accademia di Santa Cecilia, Roma
Conducted by Lorin Maazel
Courtesy of Decca Music Group Limited
Under license from Universal Music Enterprises See more »
Robert Evans Celebrates Robert Evans, to the Benefit of Robert Evans
Somewhere in this grating, self-congratulatory exercise in ego-mania is a fascinating documentary about one of the most talented and successful players in the history of Hollywood. By sealing it all up in a stiffing first-person bubble, though, Robert Evans and the film makers turn what could have been a great journey into the equivalent of being stuck on an airplane with someone who can't shut up about himself. All biographies have a point of view. I've never seen one, though, that insists on giving the viewer ONLY one perspective to the point that the main character is the only one allowed to speak, quoting other people in irritating (and in some cases racist) caricatures while continuously employing false modesty, name dropping, and hackneyed "homespun" quips meant to sound like hard-earned wisdom. They should have printed 15 copies of this film and passed them around to friends and family of "The Kid" in the title. Considering the flood of quality documentaries that have been released in the last decade, the general Viewing public deserves something better.
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