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user\nTalk Radio is of course, probably not the most well known of Stone's films, but don't let that put you off, this film is ripe for discovery, I defy anyone not to be entranced by it. Along with the best performance of 80's cinema by Eric Bogosian, for me (along with JFK)this remains Stone's finest moment. Stone doesn't seem to comment much on it these days and didn't do a director's commentary on DVD like all his other films. Stone has nothing to be ashamed of, most directors would kill to get a shot @ a film like this.
The claustrophobia of the studio is intense and the opinions of Champlain are still very crucial arguments for today. The \"legalise all drugs\" speech is powerful and you might find yourself agreeing with him.In my opinion the film is about freedom of speech and how sometimes people don't like hearing things they don't agree with.The speeches and conversations with the listeners are very compelling, even disturbing, a chill ran down my spine when a crazed man calls Champlain saying he has to rape again because the city drives him crazy is totally shocking.The tension is sometimes unbearable with a scene when Heavy metaller Kent becomes unhinged, of course Champlain does himself no favours by ridiculing him. Champlain(or should I say Bogosian) is fearless in film and performance, totally mesmerising, a shame th@ Bogosians other big role was the villain in Under Siege 2(dear god!!)One scene th@ didn't ring true was when Barry's boss Dan(Alec Baldwin) gets him to calm down, Barry doesn't seem to be the kind of person who shuts up and does as he's told, it seemed a bit contrived and clichéd.The scenes outside the studio are criticised for being too formulaic, it's true because Stone is trying to make the film more cinematic and allow the viewer to see Champlains beginnings but it doesn't entirely work.
It is a brilliantly cinematic film with extreme close-ups, deep focus, extremely fast cuts a fantastic 360 set which is used for the final breathtaking monologue. Must see cinema, it makes it rare because it was ignored @the time but is now receiving attention again which it so richly deserves. A classic th@ should be studied by generations of film students.
10 out of 10 for inventive use of \"Bad To The Bone\" before T2, brilliant supporting cast including John C Mcginley(Dr Cox from Scrubs) as the sleazy Stu, Leslie Hope(24)as Champlains girlfriend, John Pankow and Alec Baldwin as the suits and Micheal Wincott who plays three roles( a very underrated actor), the tension between the listeners and Champlain which is very heart-racing @ times and of course kudos to the stars Bogosian and Stone for such a fantastic piece of cinema. Enjoy!
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user\nAlright, the first time I seen \"Talk Radio\" was in a video store for only $2.00 on VHS believe it or not, and I looked at it and I thought it might be about Howard Stern, because I just looked at it for about thirty seconds, then just didn't see it again. Then I went to another store about a month later and I found \"Talk Radio\" on DVD for only $5.00. So I see it was directed by Oliver Stone, and I picked it up. So after the film was over I was speechless. I have never seen such a film like this. Here's the main plot, then i'll tell ya what I thought of it.
It is about a Dallas talk radio host Barry Champlain, a Jewish radio host who talks about whatever other people bring up and he interupts, and is taking everything seriously. Now, a network wants to put his show live everywhere in the U.S. So Barry's show gets a lot of interesting phone callers like Chet (a neo-natzi), Kent (a rock n roll drugged kid), John (rapist), and others. Now some of the callers sound like the same actor/actresses. But still I think it fits okay.
Now what I love a lot about this film is the dark corners and the paranoid atmosphere of the radio station. The dark music in the background fits very nicely too. It has a flashback scene in the film also how he started with radio, which I think they did good on.
But the great thing about the film is ending. I was surprised by it, and it kind of makes you feel paranoid a little about the phone callers off the air and everything about it is wonderful. It also tells you how to say the right things to people over a big city like Dallas. One of Oliver Stone's underrated/weakest films mentioned, but I think it's his best in my opinion.
But definitely get this film if you like films with paranoia-feel like films with a dark atmosphere with sinister music in the background. I still watch this film a lot of the times now when i'm bored, as matter fact I watched it tonight. Yeah, if ya wanna really get the sinister feel to the film, watch it at nightime with the lights off. I may sound crazy, but it makes the film better!
Another thing I forgot to mention is that the reason I don't think the film did so well was maybe in my point of view because of the title. 'Talk Radio.' It doesn't sound very tricky or anything, it's kind of plain. A better title like the book \"Talked To Death\" or maybe \"The Abusive Radio Host\" or something catchy and not plain \"Talk Radio\". Or maybe because of Universal Pictures? Oliver Stone usually didn't do Universal I don't think. Paramount might have been a good company. I don't know, something about this film didn't do so well, but I love it.
\"Sticks and stones can break your bones, but words can cause permanent damage.\"
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user\nBarry Champlain is a radio phone-in talk-show host in Dallas, whose no-holds-barred ideas on a plethora of social issues disturb and offend many of his callers and listeners. Is Barry a media messiah in search of truth, or a social misfit out to assault his audience ?
This is an intense, provocative character piece about a man with almost no redeeming features who at the same time seems to be onto some really profound philosophy. Though co-written and directed by Stone, this is really Bogosian's piece all the way and he gives an astonishingly hard-edged and penetrating performance from which there is no escape. Barry is at times one of the most loathsome characters imaginable, spewing bilious misanthropy at everyone around him, particularly those who care about him. But at the same time he is also strangely empathetic, hypnotic, sage, even lovable. Bogosian's hawkish features burn into the frame, with his green eyes constantly darting around as if permanently seeking an answer to some riddle. The movie is essentially an angry, self-righteous rant against all the bigotry, injustice and banality in the world, culminating in a wild three-and-a-half-minute rotating single shot of Barry delivering the ultimate I-hate-everything speech, but boy does it pack a punch. The support cast are great, particularly Greene as the ex-wife and Baldwin as the boss. Robert Richardson's keen photography manages to keep the single radio studio set looking interesting and there's a tense score by Stewart Copeland, with a moving coda featuring that endearing phone-music piece, Telephone And Rubber Band by The Penguin Cafe Orchestra. If you're unfamiliar with Bogosian, check out his amazing talent in this flick - like his contemporaries, Bill Hicks and Denis Leary, he's someone who rarely appears in the mainstream media, purely because his writing is so out there. I find Stone's movies variable; I don't much care for his big successes, but when he is more ordered and objective, as with this (or Salvador and Nixon), he is much more incisive and arresting. A great primal scream of a picture, based on a play by Bogosian, inspired by the true story of Alan Berg, a Denver radio talk show host who was murdered by neo-Nazis in 1984.
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user\nAbsolutely nothing. The movies that are great in this world are not recognized unless they are filled with gunshots, explosions, and death. This movie is filled with a man talking about showing you a more complex character than has been seen in many movies.
When a movie is incredibly fast paced but stays mostly in one location it has to be the work of a genius. Surprisingly enough, it is, this movie is directed by Oliver Stone and therefore is one of the best directed films of our time.
This movie's screenplay was co-written by Oliver Stone and Eric Bogosian (Barry Champlain, main character.). With Oliver Stone's help, the screenplay was created as a seamless, rolling script which keeps you interested the entire time if you have any amount of intelligence. If you have an open mind about any subjects, and the wit to comprehend others, then this movie is something which you should find some way to watch, immediately.
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user\nWOW, a masterpiece of a movie not to be missed.
I had no idea what this movie was when I started watching it late night. I didn't find out it was a Stone film until after the film when I went on IMDb. Watching it, I was mesmerized. The cast, especially Eric Bogosian is just superb. One of the best scripts and camera work ever...The movie drew me in and kept me entranced until the very end...I did not dare blink for fear of missing something...Amazing how a small-budget film can be so engrossing and well made while huge-budget films that feature tons of action and computer generated special effects can be so incredibly boring. Don't miss this film...
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user\nI chose this movie really for my husband-who works in radio broadcasting. I thought that it would be more of a movie that he would enjoy and relate too, though it was from the eighties-so it was a little dated. This movie really draws you in. At times you just want to strangle the host, Barry. At times you just want to send some of the bigots who call in to a true concentration camp. At times you really feel sorry for Barry, because he has truly gotten too big for his jeans if you know what I mean. It was on the Drama channel on Encore-so I am thinking this is a true story. If you truly love dramas you will love this, even if you don't know all the ins and outs of the broadcasting business. If you are an Alec Baldwin fan and are watching it to see him, you shouldn't. His part is really a bit part in this movie.
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user\nOliver Stone, always ready to make politically-themed movies, makes another one here. \"Talk Radio\" is loosely based on the career of Alan Berg, a radio talk show host in Denver who was murdered by white supremacists. In this case, the character is Barry Champlain (Eric Bogosian), an outspoken talk show host in Dallas who loves nothing more than to irk the people who call in. As it is, most of the people who call in are a bunch of pigheaded racists. And things may be heating up more than anyone realizes.
Bogosian's performance brings a light comical tone to an otherwise serious movie. I really liked the scene where he jabs at a redneck who calls in. Granted, I wouldn't call this Oliver Stone's greatest movie ever, but it's a good reference in an era when media gets more and more concentrated. Good performances by Ellen Greene and Alec Baldwin also help.
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user\nExcellent and highly under-rated from beginning to end. One of Oliver's best. Well Scripted, Directed, Shot, Acted and Stuarts Copeland's soundtrack (Trivia: the music during the end credits vaguely sounds like a late 90's Pop hit by \"Spacehog\" Band
Eric and Cast are Brilliant, let alone the Callers. What a whirlwind of emotions. It make's your hair stand on end. (...\"Necks will be broke and whips will Crack\"--in a old female southern accent.. Yike! creepy. Scary than any Horror Movie.
10 out of 10
Em
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user\nEric Bogosian gives as great a performance as you'll ever see in an Oliver Stone film. His Barry character is an assault rifle disguised as a man and he blows away anyone, on or off the air, that offends him. Adapted from Bogosian's stage play, \"Talk Radio\" is a vicious and frightening ride that doesn't let you off until it's too late. By then, you've become familiar with the fringe of racists, rapists, paranoids, wannabe assassins and mere prank callers who listen, speak and lurk in the dark of Dallas nights.
Stone behaves himself, if that's even possible, letting Bogosian dominate every scene, from Barry's humble beginnings to the make or break point when his radio show can reach national syndication. The rest of the cast are uniformly excellent as the lovers and/or co-workers that all have being used and tossed aside by Barry in common.
The only thing I'd change is the recurring theme music, \"Bad To The Bone\". I'd have used Bachman-Turner Overdrive's \"Not Fragile\". A better song, one I haven't heard in a film so far and a driving, relentless tune whose ominous riff is like the true soundtrack to Barry's life.
Listen if you dare!
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user\nWith boundless, raw energy and an uncompromising vision, Talk Radio brilliantly explores the public's fondness for reducing strangers' private problems into entertainment via the radio.
Eric Bogosian is sensational as Barry Champlaine, a rude, in-your-face talk radio host. He's a natural for this kind of role, and fine tunes one of the most impressive, interesting radio personalities I've ever seen on screen. The timing and delivery of his insults to his various callers are strokes of genius.
Alec Baldwin also shines as Barry's boss. He demonstrates the same explosive cynicism that he would later display 1992's Glengarry Glen Ross. But the supporting role that truly stands out is the stoned, seemingly brain-dead teen played by Michael Wincott. You have to see it to believe it.
Oliver Stone and Robert Richardson do a great job with the photography, which is almost entirely confined to a single broadcasting room. The claustrophobic feel of the movie perfectly mirrors its tone. After all, one of the major points of the film is exploiting people's private moments to draw an audience. Stone demonstrates that these moments are often too private for the whole world to experience.
Talk Radio is a film with strong emotional and cerebral impact - the likes of which are seldom seen today.
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user\nOliver Stone hits the bull's eye with this film, aided chiefly by Bogosian's electrifying screen presence and biting, brilliant screenplay. Every moment crackles with a steadily-growing tension, climaxing in a truly, memorable movie-going experience. If there was ever an indication of a writer and a director's ability to meld two highly volatile temperaments into a seamless union of creativity, then this is it! The result is a powerhouse achievement, made more timely now perhaps because of our culture's disturbing fascination with celebrity, and it's distorted interpretations of fame.
An ultimate indictment of our society's increasing morbidity, and self-sickening hunger for the next big thrill.
A film not easily forgotten. I highly recommend it to anyone interested in the darker side of human nature.
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user\nThis is a film about passion. The passion it depicts is largely misdirected, even for the leading man. But therein lies the incredible power of this film: it shows us that what we believe can be contaminated by nonsense, and can even lead us to do things that are destructive -- to ourselves or others. Moreover, those who try to escape from acquiring passion (watch the druggie who visits the studio) also risk self-destruction.
The world needs to hear the message of this movie more often.
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user\nIn my opinion this is the best Oliver Stone flick -- probably more because of Bogosian's influence than anything else. Riviting stuff -- full of dread from the first moment to its dark ending.
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user\nThis film is totally mindblowing. It manages to be thought provoking, funny, tragic, and cinematic yet claustrophobic.
Although the flashbacks are unnecessary, the film maintains a pacy, punchy grip and the performances are all excellent, in particular Alec Baldwin, and the mesmerising Eric Bogosian as the film's anti-hero, Barry Champlain.
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user\nThis is a very cool movie. The ending of the movie is a bit more defined than the play's ending, but either way it is still a good movie.
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user\nWhen it comes to movies, I don't easily discriminate between crap, pure crap and masterpieces. I believe this movie is an absolute masterpiece and it's hard to keep me entertained for more than 90 minutes. This movie ran SLOWER than Mystic River and Harry Potter 3 combined and I still managed to stay riveted to my seat. For me, it was the passion that Eric Bogosian put into his performance. It's extremely difficult to pull off such a stunt and manage to garner any positive effect from it. Bogosian probably nailed one of the toughest single-man performances in modern cinema. I didn't have any respect for Bogosian until the end of the film. The entire monologue minutes before the inexorable climax was the turning point, it was the key that turned me around. This man hit a point so low that he knew he could never recover from it. The corporate boys congratulated him on the performance. His blistering prose made even the slimiest one in the cavalcade shake his head in awe. It made me realize that personal integrity and hypocrisy don't matter in the world of talk radio, even in the corporate world for that matter. Stone may have been pushing some uber-liberal agenda but it was the actual movie and production that got my attention. Oliver Stone is a minor master of the moody. The final third of the film had probably the best lighting and cinematography I have seen in any film. Stone artfully makes the DJ booth feel like five-by-seven cell in a nineteenth century prison. Visually speaking, it appears that Bogosian's only friend is the black foam that absorbs his routine vitriol. He speaks and it doesn't speak back. It's a sad metaphor considering the way he treats the people who handed him his success. Stone and Bogosian carved out a stunning film of a man who is trapped in both a prison of walls and a prison of self. This man is confined to his own volition and he can never escape it. The scene that made me realize his conundrum was when he was unwilling to his ex-wife back. He preferred his own prison instead of the world on the outside. Every story has a conflict and it came down to the simplest of all conflicts: man versus himself. 'Talk Radio' presents this conflict in an intelligent, gripping, and artful fashion. There are no hidden messages in this film and the progression of events should be expected by any astute viewer. I just leaned back and let my mind be grasped by this film and I loved it. It's unheralded, unseen, and it will never receive its due recognition. Let's hope it stays that way because gems deserve to be found and then hidden again. It's a gem because I found it in the discount DVD bin at my local Wal-Mart store. For $5.50, it was worth the half-hour I spent digging trying to find it. I did and I got more than my money's worth. This is one of the best movies ever made and that is worth ten reasons alone. Ten reasons give a score of ten.
Here ends my rant!
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user\nSonny Chiba, as everyone knows, is the man. In this film, he portrays Mas Oyama (1923-1994), a real martial artist who fought over 50 bulls with his bare handsand won (interesting guylook him up). Anyway, Chiba only kills one bull in the film but it's a memorable scene and as the liner notes say, right up there with the zombie vs. shark scene in Zombi! The film also offers up loads of hand-to-hand combat and a decent plot to boot, though I don't believe all of it is true. This film is the first of the Oyama trilogy Chiba made and is recommended for fans of martial arts action. Finally, three neat little tidbits; part of the opening theme was used in Kill Bill Volume 1, Oyama himself appears in the opening sequences, and that is because he trained Chiba in real life for five years!
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user\nMas Oyama was the most successful karate master of the late 20th century. He rejected the \"training\" of the karate clubs of the time focusing on an intense no holds form of training. He eventually built his system into a huge business empire with hundreds of schools across the world, without compromising his teachings. The testing in the Kyokushin schools are still some of the most physically challenging tests any martial art school requires. One non- physical hardship Oyama faced was prejudice due to his Korean ancestry and he spent time proving that loyalties were to Japan and Japanese Karate. This movie series was part of that effort although anyone who had the chance to meet Oyama (I did) would never question his allegiance to Japan. In this series, Oyama's most famous student, Sonny Chiba, is called upon to portray his master.
Oyama arrives from the countryside where he has been training alone. He challenges and makes short work of the established Karate schools he encounters. Disgusted by the state of karate, Oyama returns to his lone training. He eventually picks up a student, falls in love and gets in the way of gangsters who are allied with the established karate schools. In the middle of this is the legendary bullfight with a mad bull. How much of the film is true is questionable.
That Oyama could kill a bull with his bare hands is true. He was called on to repeat this feat numerous times. There are filmed instances of Oyama actually doing this, although sometimes the bulls seemed to be tethered as Oyama was getting on in years. Sonny Chiba portrays his master with conviction and the karate is quite good. Chiba may not have been the best karate practitioner but, at this point in time, he was certainly above average.
As a whole the movie is good, much better then most martial art films in the drama department. I always wondered why it's not more well known. Possibly it the very realistic depictions of martial arts. People are shown getting tired and hurt unlike 99% of action film where the hero is a limitless fountain of energy and each blow instantly dispatches an opponent to death. Chiba seems so exhausted at one point that it hurts to watch. Perhaps viewers rather not have their entertainment reflect reality so closely.
Recommended especially for martial artists.
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user\nOddly enough, the Independent Film Channel showed this film a week AFTER it showed KARATE BEAR FIGHTER--even though the bear film was the second in the trilogy and this film was the first!!! What were they thinking?! While all three of these films are supposedly based on the life of this great Kyokushin Karate master, you can't help but think that they MUST have embellished the story quite a bit--especially in this first film. Sure, the guy evidently DID fight and kill a bull and later a bear (in fact, he fought and killed MANY bulls during his career), but in this film set in the early 50s, at the end of the film, the hero actually fights about 60 guys and kills many of them brutally. I just can't imagine that this really occurred. So I did some checking and found that while many of the details are correct, some of this film is pure bunk! Yes, he DID kill a man in self-defense and YES he did follow the widow and her son and spent a year working for them--trying to get them to forgive him. But the end of the film is great to watch but hogwash. Seeing one of his opponents get a staff thrust through his head and all the other gory details couldn't have happened or else the Japanese government would have locked Oyama up to protect society! The film is entertaining and the fighting is excellent. There are no complaints about the action or acting. The only minor complaint is the camera work--which is a tad sloppy during some of the fight scenes. Despite this minor complaint, this is a most enjoyable film. In many ways, the wandering Karate master theme is pretty reminiscent of the Zatoichi films--which are also lots of fun to watch but many of the exploits are truly impossible.
FYI--There is an Englished dubbed version of this film entitled \"Champion of Death\" and I just saw it as well. It's not a bad dubbing and it was letter boxed (a big plus), but still I prefer the subtitled version.
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user\nIn the 2nd of his Historical Martial Arts films, Chiba portrays his real life sensei Mas Oyama. The film even recreates Oyama's incredible feat of killing a raging bull with his bare hands (Oyama did this feat over 50 times in real life). Dynamic fight choreography featuring authentic Kyokushinkai techniques. Ironically this is one of the rare Sonny Chiba films in which he DOESN'T tear out or rip off body parts of opponents. A must see for Sonny Chiba fans definitely one of his top 5 films
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user\nI thought this was a very good movie. Someone said it was 'sick' so they couldn't watch it. I think if you realize its rated R then you will be prepared for the nudity and drug use. It is a good story and the acting is amazing. Just can't be a prude to appreciate it! Its basically about a mom who does drugs and wants to get clean so she calls a very wealthy old friend and he moves them to his estate and crazy things happen. I guess it is a drama. I am just so sick of people who don't like movies because of cursing or nudity. That is the world we live in. You obviously aren't comfortable with yourself if you can't see things like this movie. And it's rated R. So, that should tell you from the beginning that its not all peachy happy rainbows. I liked it. I think you will too!
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user\nI was lucky enough to see this at this years Tribeca film festival. I was stunned by how well made and how entertaining this wonderful little film was. Director Griffin Dunne has done a great job assembling this film that has several characters and several story lines that blend so smoothly and seamlessly. The main story involves the family and it is very thought-provoking and entertaining story that involved the viewer in every scene. The film as a whole has credibility and integrity, yet still has that commercial edge - an \"indie\" movie for the masses if you like. The performances by the cast are all excellent but it is Diane Lane who shines the brightest. Diane Lane is simply sensational in this wonderful film and should be Oscar nominated. Early days I know, but Lane acts her socks off here.
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user\nI can't imagine why it hasn't been theatrically released yet. It's got a great ensemble cast, with Sutherland, Lane, and especially Chris Evans doing spectacular work. Wake up, studio execs!
The story is based upon the experiences of the author/screenwriter, growing up as the \"poor kid\" in an extremely affluent community, where class is everything, and makes a difference in every aspect of life, from clothing to justice.
During the film's Q&A, the author was asked about his experiences, and particularly what we don't know about the ultra-rich. He said they aren't stupid, they're very smart (as opposed to how they may portray themselves), they've got plans, and they are a threat!
In many ways, this film is extremely timely.
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user\nI really enjoyed Fierce People. I discovered the film by accident, searching through my On-Demand movie lists trying to find something interesting to watch. The film is mostly about class in America, and it quickly grabs your attention. The characters are smart and articulate and the story doesn't stick to the usual Hollywood rules.
The main protagonist is Finn, a precocious, but underprivileged 15 year old who spends his summer with the Osbourne family. Donald Sutherland plays the patriarch, Ogden C. Osborne, the seventh richest man in America. Diane Lane plays Finn's mother, a friend of Ogden who is also a habitual cocaine user and a slut. The Osbournes own a large estate and seems to live by their own rules. At first they seem charming and sophisticated but the super-rich are different. They are used to getting their own way. The film is enjoyable mainly because it has crisp intelligent dialog, superb acting and a story which takes unexpected turns. It is also an R rated movie, so it's not entirely wholesome.
The cast is excellent. Anton Yelchin is believable and sympathetic in the demanding role of Finn. Sutherland and Diane Lane have never been better. Chris Evans is impressive as Osbourne's devious grandson. Kristen Stewart is good as the pretty grand daughter. High quality movie.
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user\nA brilliant and sensitive movie with interwoven plot lines. As a general warning, the movie turns quite dark about half way through. As sudden as it is, this is a change that I found fitting to the themes of the movie, particularly the comparison of the Ishkanani to the filthy rich, and (as is said by Finn at the end) how each person makes up the tribe, and how the whole tribe is reflected in each person.
Anton Yelchin (Finn Earl) is spectacular in this movie. He is probably best known as Chekov from Star Trek or Kyle Reese in Terminator Salvation, but he's been in a whole plethora of movies you've probably never heard of (Alpha Dog, which is another brilliant performance on Yelchin's part, House of D, Hearts in Atlantis, to name a few...) The point is that this kid really takes this movie and makes it his own. Other excellent performances from Diane Lane and Donald Sutherland are what takes this movie up a notch, from great to excellent.
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user\nTo the eight people who found the previous FIERCE PEOPLE comments by \"Psycolicious Me\" and \"Topdany\" \"helpful,\" as well as to any future site visitors who see them before their authors delete them: these negative critique's are not only shorter than the site guidelines mandate, but they are entirely bogus, nonfactual, incorrect, and misinformative. For instance, Blythe's dad is in a coma, NOT dead--Maya and Finn even visit him in the hospital. Furthermore, it was estate deer poacher Dwayne--NOT Blythe--who knocked up Jilly the maid, etc., etc. So if you have ADD which makes you incapable of focusing on the simplest details, please keep your condition to yourself by not pretending to be Siskel or Ebert. Otherwise, include a disclaimer with your comments!
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user\nFrom the opening scenes of FIERCE PEOPLE (an interplay of tribal customs as photographed by the anthropologist father of the young narrator Finn Earl, demonstrating why this South American tribe of Ishkanani is so fierce) the direction of the film is nebulous: are we watching a dark comedy about comparing life in the New York streets to uncivilized peoples, or is this a message film of a more serious intent? But as the story develops this fine line between entertainment and philosophical impact becomes increasingly clear. Griffin Dunne's direction of Dirk Wittenborn's adaptation of his novel may be a bit careless at times as it strays from rational plot development, but in the end there is a strong enough final impact to patch up the holes he created.
Our narrator Finn Earl (Anton Yelchin) lives with his coke-addicted masseuse/sexually obsessed mother Liz (Diane Lane) in New York, waiting for the summer when he is to join his anthropologist father on a field trip to South America (a father he knows only from letters and videos), when a drug bust abruptly changes their lives: one of Liz's wealthy clients Ogden Osborne (Donald Sutherland) rescues the down and out family and moves them to his ten acre estate, the epitome of wealth and power. In exchange for being Osborne's private masseuse, Liz and Finn can live in the mansion with the 'filthy rich' Osbornes - daughter Mrs. Langley (Elizabeth Perkins) and grandchildren Bryce (Chris Evans) and Maya (Kristen Stewart). Osborne and his physician lead Liz on the drying out path and Finn bonds with Osborne and his grandchildren, and despite the disparity in poor versus wealthy, the living situation works - for a while. Incidents occur to alter feelings and Finn is attacked and raped by a masked assailant, a turning point for the film and Finn's view of the Osborne family. Osborne reveals his past to Finn and together they manage to discover the truth about Finn's troubling incident - and also about the fierce disease of the wealthy class.
The film uses many clips of tribal activity during the film, drawing some disturbing parallels for some of the more challenging scenes. For this viewer that works well, but when the director elects to place tribal individuals in full regalia within the context of the Osborne estate, the concept feel contrived, as though the audience has to be forced to 'get it'. The various subplots between maid Jilly (Paz de la Huerta) and Finn and the introduction of an obese retarded chalk artist Whitney (Branden Williams) push the credibility edge of emphasizing the line between the wealthy and the 'lower class', but the performances by Sutherland, Lane, and Yelchin are strong enough to make us forgive the film's lapses. Not a great film but one with a lot of worthy ideas splashed around on the screen of a project that often feels lost in its struggle for direction. Grady Harp
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user\nthis is an adaptation of a Dirk Wittenborn book, which I did not read. young Finn Earl lives with his Mom Liz (Diane Lane) in a cramped lower East Side New York Apartment. he dreams of joining his Anthropologist father studying a fierce tribe in South America. Liz has boyfriends and does coke. when he is caught scoring coke for her, one of her customers (Liz is a legitimate masseuse) a rich Mr. Osborne bails her out in return for being his full time personal masseuse in his huge estate in New Jersey. They are driven there in a limo with her strung out lying in the back seat with her dress hitched way up and panties showing. (this and a few low-cut dress scenes is the only exploitation of Ms. Lane. some may be disappointed but I'm sorry she had to do all that stuff in \"Unfaithful\" to make the A-List. That lady has more talent in her little finger than Streep, Roberts, and Sally Field do in their entire BODIES and its time she was given her due.) when they arrive Finn makes friends with Osbornes grandson Bryce, and has a coming of age with his new girlfriend, granddaughter Maya. Liz meanwhile joins AA and dates an AA doctor. She miraculously cleans up instantly. Finn however does a lot of drugs along with sex with his new friends. Bryce seems like an OK guy but gets jealous when Osborne takes Finn on a hot air balloon race instead of him, and this leads to tragedy.
the genius of the story, (and movie) is that they cut from the violent acts of the Fierce filthy rich Blysdale tribe to the Yanomano warriors. It's a little implausible though that when Liz finds out what happens to her son she merely demands action from Osborne and does not either contact the authorities or settle it Thelma and Louise style. there are elements of a Gothic Romance with a revelation by the village idiot. Also they do almost no plot or character development prior to the move to Blysdale. Liz, for instance, like Lane's Pearl Kantrowitz in \"Walk on the Moon\" had an unwanted pregnancy with Finn at 18 and felt trapped. This is in the book but not the movie. Still, these are minor shortcomings. The movie will be in full release 12/31/05 over a year after the original release date, and I just couldn't wait.
There were lots of Red Carpet moments in the theater I saw the movie at, with almost the whole cast...except Diane Lane!! $#%#Q$ Director Dunne said she was off filming a movie. I know she didn't promise to be there, but I came from way out of town and it would have been such a thrill to see her in person. The movie is a definite Best Picture contender, as for acting?? Sutherland was quite good, and so was the boy who played Finn. Lane was magnificent as always, but I only recall one or two emotional scenes, when she catches Finn with drugs \"lets get f****d up together mother and son\" and with Osborne \"your twisted grandson...\". She would fare better with a supporting actress nod but it wont work that way. unless they give it to her for a \"body of work.\"
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user\nWent to the premiere at the Tribeca Film Festival in NYC and I absolutely loved the film!!! I am Diane's #1 biggest fan and of course, as always, she gave a magnificent performance!! I have seen every single one of her movies and I must say that this is one of my new favorites. Diane was funny and moving and just took my breath away. Donald Sutherland was surprisingly humorous but also a good amount of serious. Anton Yelchin is just a wonderful young actor and gave an amazing performance. All in all, I recommend this film to anyone who can appreciate an excellent movie. 10 thumbs up!!! I would definitely go see it again and again and again. This is the best film of the year so far!!!
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user\nReturning from 20 years in China, a young missionary refuses to become THE CAT'S-PAW for a gang of hometown hoodlums.
This movie was a bit of a departure from Harold Lloyd's previous movies. Comedy derived more from dialogue, often rather serious, predominates here, rather than the elaborate sight gags which powered Harold's classics of the past. There are some splendid moments, however, which are pure visual fun, as when Harold attempts to follow a convertible down a crowded street, or when he desperately tries to keep a nightclub stripper from losing her clothes. There is also the climactic scene, set in a Chinatown basement, in which Harold gleefully jumps unabashedly into the darkest comedy. But most of the humor derives from Harold's refusal to be the patsy of the criminals who've run his hometown for years.
And it's quite a collection of crooked politicians & thugs Harold finds himself up against, played by a bevy of fine character actors: George Barbier, Nat Pendleton, Grant Mitchell, Edwin Maxwell, Alan Dinehart, Warren Hymer & stuttering Fuzzy Knight. Pert Una Merkel is on hand as the tobacco stand girl who catches Harold's eye and keeps him intrigued by her no-nonsense outlook on life.
Movie mavens will recognize Samuel S. Hinds as Harold's missionary father; Charles Sellon as an elderly Stockport clergyman; and Herman Bing as a German gangster--all uncredited. Also, showing up for only a few seconds as an attempted kidnapper, is Noah Young, a familiar face from Harold's silent films, here making his final appearance in a Lloyd picture.
Fox gave the film fine production values, especially in the opening scenes set in China.
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As a Harold Lloyd fan, i agree with the other reviewer's comments, EXCEPT that I feel that \"Movie Crazy\" was his best sound film; \"Cat's Paw\" is a close second. (But, this is just MY opinion).
This film is a \"hoot\" from beginning to end and, in many scenes, George Barbier (the crook that gets him elected mayor) almost steals the show! (Especially at the end of the film).
One wishes that Una Merkel's character would be a bit more sympathetic to Harold, especially as the film progresses. Only in the last few minutes of the film do we find out her true feelings for him. (And, even then, there is no \"romance\" - kissing, etc).
This is a Must-See film!
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user\nThis movie caught me by surprise. For years I have avoided many of Harold Lloyd's sound pictures (as well as those of Keaton) because they have a generally well-deserved reputation for being lousy compared to the silent films because the basic formula has been lost. However, when I saw this film I was pleasantly surprised to find I actually liked it,...once I accepted it really was not a \"Harold Lloyd\" film (despite him starring in it). This is because although it is nothing like the style of his earlier films, it IS highly original and Lloyd isn't bad playing a totally different type of character.
As I mentioned above, the formula of the old films is almost completely missing here. Lloyd does not do the old familiar stunt work, the romance is quite unlike his early screen romances, and the plot is just plain weird! Instead of the usual roles, he is the son of a Chinese missionary who returns to America for the first time since he was a small boy. Because of this, though he looks like an American (except for his white suit and explorer's helmet), he thinks and acts a lot like someone who is Chinese. In many ways, he's very naive about America and is like an innocent among wolves. Early on, he meets a man who turns out to be a local party boss. This boss ALWAYS produces a losing candidate for the mayoral race--because he is bought and paid for by the corrupt mayor to produce a \"token\" candidate who has NO CHANCE of winning. Well, the old geezer who they traditionally run for office just died and he decides to run the naive Lloyd--he hasn't a prayer of winning! Well, the unthinkable happens and Lloyd wins!!! This, and Lloyd's decision to clean up the town greatly upsets the old political machine and they stop at nothing to destroy honest Lloyd. Just when it appears Lloyd is headed to jail on a trumped up corruption charge, he creates a scheme that is 100% impossible and very illegal to get signed confessions from the crooks. However, despite this, it is incredibly funny and a great ending. So, my advice is at the end, just suspend disbelief and enjoy.
An important note: This movie is definitely NOT politically correct. The word \"Chink\" is used repeatedly. I found it offensive but considering the times, I ignored it as you should too. If, however, you are someone who CAN'T and like being angry, I suggest you never watch movies anyway--as you are bound to become offended again and again.
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user\nFor those of you looking for the crazy stunts that typified a Harold Lloyd silent comedy, this is not the film for you. What The Cat's-Paw gives us is an interesting and atypical character for Lloyd who was trying to establish himself in sound.
For me the closest movie comparison to Lloyd's character is that of Peter Sellers in Being There. For all the education that Lloyd has received in dealing with the world, he might as well have been brought up in isolation as Sellers was.
But where he was brought up was as a missionary's child in China and I don't know how much Christianity he and his family were able to teach the Chinese, but young Harold has learned the wisdom of Chinese philosopher Lin Po whom he quotes constantly like a fortune cookie aphorism. As it turns out Lin Po turns out to be one wise dude.
Anyway Lloyd's father Samuel S. Hinds has decided his son needs some education in the modern world of 20th century America and he sends him back to be the guest of the pastor of the home church which sponsors the mission. The pastor there is the perennial candidate of the 'reform' movement of that town of Stockport. But no sooner does Lloyd arrive and the pastor dies.
Now the reform movement is a sham and the pastor a patsy of the political bosses who need a straw-man opponent in every election. They decide Lloyd just might be a better patsy than the guy who just died.
Of course as it goes in these type of films the patsy proves to be not so easy a proposition. In fact Lloyd constantly quoting from Lin Po, the way Charlie Chan used to dispense wisdom proves quite the adversary for the crooks who run Stockport. In addition Lloyd gains the admiration of Una Merkel, as cynical a dame as Jean Arthur was in Mr. Deeds and Mr. Smith.
The Cat's-Paw is still a nice political satire though it did not establish Harold Lloyd as big a comedy name as he was in silent films. A nice cast of players was selected by director Sam Taylor topped by George Barbier who plays a political boss who discovers Lloyd and actually proves to have a streak of honesty in him.
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user\n_Saltmen_ is a long film for its genre, and quite often the pace is much slower than that expected by Western audiences. That being said, I enjoyed it thoroughly both in terms of interesting subject matter and the magnificent images this film contains. Some of the scenery is truly breathtaking, and there is enough of interest that most should be able survive _Saltmen_ with minimal use of the fast-forward.

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