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.
American journalist John Reed journeys to Russia to document the Bolshevik Revolution and returns a revolutionary. His fervor for left-wing politics leads him to Louise Bryant, then married, who will become a feminist icon and activist. Politics at home become more complicated as the rift grows between reality and Reed's ideals. Bryant takes up with a cynical playwright, and Reed returns to Russia, where his health declines.Written by
When editing and post-production was completed in December 1981, it was two years since production had begun, and three years since pre-production had commenced. See more »
In the scene where Gene and Louise talk in Gene's apartment, the position of Gene's cigarette pack changes radically from shot to shot. See more »
Was that in 1913 or 17? I can't remember now. Uh, I'm, uh, beginning to forget all the people that I used to know, see?
Do I remember Louise Bryant? Why, of course, I couldn't forget her if I tried.
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As the credits roll, additional interviews with the 'witnesses' play. See more »
3 seconds of horse falls were cut from the British version. The DVD supplements showing these shots are also cut in England. See more »
An engrossing film about John Reed's love affair with Louise Bryant and his struggles in the midst of the Russian Revolution. There are great performances from Beatty, Keaton, Nicholson (excellent as Eugene O'Neill) and Stapelton in her Oscar winning performance as Emma Goldman. Beatty's precision and timing in the use of his camera in this picture is a superb achievement. There is a touch of David Lean in director Beatty in this film. The color, the editing, the sound. All of those important filmic elements are at play here in great form. Beatty won the Best Director Oscar, but lost the Best Picture award to Chariots of Fire.
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