Harry Valentini and Moe Dickstein are both errand boys for the Mob. When they lose two hundred fifty thousand dollars, they are set up to kill each other. But they run off to Atlantic City, and comedy follows.
Financial "Master of the Universe" Sherman McCoy sees his life unravel when his mistress Maria Ruskin hits a black boy with his car. When yellow journalist Peter Fallow enflames public opinion with a series of distorted tabloid articles on the accident, the case is seized upon by opportunists like Reverend Bacon and mayoral candidate D.A. Abe Weiss.Written by
Jon Reeves <email@example.com>
Brian De Palma: At the very beginning of the opening tracking shot, as the limousine carrying Bruce Willis enters the basement. De Palma is the security guard who days "Now arriving Area A" into a walkie-talkie. He hurries off-screen. He then shows up seated on the rear of the golf-cart, behind Willis and Rita Wilson, still talking into his walkie-talkie. When the cart stops, De Palma once again runs off ahead of the actors. De Palma has said in interviews that he put himself into the sequence due to the logistics of directing the lengthy and complicated take. He shaved off his beard to make himself harder to recognize. See more »
Before cuckold Arthur Ruskin dies in the restaurant, his cocktail glass alternates from between his hands to outside his hands. See more »
I want you to meet Aubrey Buffing.
Aubrey Buffing. The poet. He's on the short list for the Nobel Prize, he has AIDS, you'll love him!
Sherman, we are standing alone in the middle of the room, a married couple talking to each other. You simply don't do it. Go on and mingle! Please.
See more »
(NB - I have not read the book.) Unfairly chastised by the press on release, and too easy to tar as a weak link in De Palma's ouevre, BOTV is better than Wall Street, Working Girl et al. and is still very relevant.
This is an OTT opera where every character is a cynic trying to work an angle, and every action (in a complex story about contacts, smear campaigns, politics and pawns) has an obvious and (most of the time) greedy motivation. BOTV also confronts sex, racism and class clashes with a frankness that most Hollywood movies run a mile from - it is suprisingly frank in it's depiction of these (The exception being that the New York judge had to be, of course, black [Morgan Freeman]. This is something dramatists do to make some of their social opinions seem less controversial since they are being spouted by a man of colour in a white forum.)
On par with His Girl Friday and The Sweet Smell of Success, and possessing an oddball universe Preston Sturges would've been proud of creating, this film is all the more powerful when you actually live in a world kind of like this (and I meet these kinds of people all the time - this is REAL!).
PS - Half an hour was lopped off by the studio after disasterous preview screenings. This movie deserves a DVD director's cut release.
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