A conflict develops between a troubled Vietnam veteran and the sister, with whom he lives, when she becomes romantically involved with the Army buddy who reminds him of the tragic battle ... See full summary »
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,
Young film producer, Monroe Stahr, is a rising star in 1930's Hollywood due to his ability to get anything he envisions done even if it means breaking a few rules. The latest film he's working on stars two popular actors, Rodriguez and Didi, and everyone is sure it'll be a smashing hit when it's done. The times are changing however, since the first guilds and unions are being formed in Hollywood, but Stahr is still sticking to his old ways of doing things in spite of that. His main opponent becomes a union organizer, Brimmer, but Stahr finds ways to deal with him as well. However, in his hubris, Stahr crosses one red line too many when he falls for a young troubled engaged woman called Kathleen Moore and neglects Cecilia Brady, the young daughter of studio executive and Stahr's boss, Pat Brady. Pat becomes furious over this as well as Stahr's other misbehavings and makes it his mission to take Stahr down. Due to all the pressure, Stahr's health starts failing as well. The film is ...
After reading the book (and Fitzgerald's notes about how he saw the story progressing) I expected high quality from Kazan's film treatment. Much has been made of his decision to have an almost comatose Monroe Stahr, unable to express emotion on anything but movies, and in this I think he partly succeeded. But the film as a whole irritates me. It's one I've gone back to several times and I can't work out why it has that effect. It just does. In relation to the book, some scenes are pretty much verbatim, some are added to, some are ditched altogether, there just seems no reasoning behind it. The plusses - it has an interesting ending and an equally interesting supporting cast of old timers, most of whom are always worth watching. It has a certain amount of style and character of its own. It's just not that easy to enjoy, IMO.
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