Reviews

It's ironically indicative of this movie's theme and the relationship between American culture AND this film that the vast majority of IMDb raters have given this a 6 or 7 (out of 10). Most Americans that actually watch this film will be confused by it. Very strange, maybe, in that it is a truly American movie: American cast, American production, American themes, American sets, American problems, American answers. But, tell me--how do you rate yourself when you look back at that nude in the full length mirror right after you get out of the shower? If you're feeling generous (and you're only rating for yourself), you might get a 6 or a 7, right? Rafelson's early (funnier...haha, couldn't resist that), more critically successful Nicholson vehicle, FIVE EASY PIECES, has some really GREAT moments (like the toast-ordering scene), but ultimately, the pacing is off. There's just not enough there, there. Not so with King of MV. WOW, this is one helluva emotional roller coaster. The much, much underrated and underutilized Bruce Dern gives one of his best two or three performances as Nicholson's manic (American through and through) salesman brother. This riffs on Arthur Miller and all the best dramatic pitchmen roles from the 1st half of the 20th Century. Ellen Burstyn is spot on, as is the other female interest. But the real focus is on the guys. (And just a word about the late, great Scatman Crothers--so so excellent and iconic in this.) And now we get to Jack... ...I think this is arguably his best performance. It is one of the very very few where his eyebrows were nailed down, anyway. His character is so weary, so defeated, so human, you're tempted to think he's a Russian or a Jew or maybe even a Russian Jew. But no, he is a through and through Willie Loman American. And one we so rarely see on the stage or screen--though we all know/have known them. They are that vast minority of reasonable, intelligent, sensitive, fairly strong and honest and wise individuals who just can't take it or who just don't think it's worth the trouble having seen too many people taken advantage of or getting their teeth knocked out. They are sick of what they've seen; they are sick of not being able to toe the mark--even though they know that those expectations are unreasonable. Rare stuff, indeed.

BTW, this is NOT a happy movie--fair warning.

Bless you, Bob Rafelson--a brilliant, brilliant film that should rest on the shelf next to Renoir and the very best of the 50's British Angry Young Men cinema.

This film rings through all the changes of the human instrument--from belly laugh humor to horror of the most visceral sort (both physical AND psychological) to touching selfless love to the sorrows felt and perpetrated by the immature and psychotic.

I'm going to give a synopsis here--if you want that, plenty of other folk have said more than they should about the plot and the characters--but I do urge EVERYONE to see this movie. It is--like the best of all art--timeless. You WILL NOT BE BORED! (Unless you're a brainless twit that only responds to the most superficial stimuli.) This flick DEFINES great storytelling and great film-making. No compromises.

P.S. Notice that the young Fellini is not only one of the writers, but is also the uncredited 2nd Unit director.

Why is this film not in IMDb's top 250 (or top 100, for that matter)? Well, that's pretty simple to understand, isn't it? For the same reason that turkeys like the last Star Wars movies and Pirates 3 ARE in the top 250. The IMDb ranking is quite democratic; it measures the opinions of those who are on the net--now. Oh well.

Art Carney was a quiet, quirky genius and this film is a lasting testament to his talent.

It's a story about how an -average- man (actually not average at all, as we come to find out) lives a life of dignity and confronts the chaos of modern existence--including that most devastating of inevitabilities, mortality and, particularly, old age .

Besides Carney, watch for superb ensemble acting from Ellen Burstyn, Larry Hagman, the inimitable Chief Dan George, Arthur Hunnicutt, and a host of great character actors from the 70's.

Unlike so many contemporary scripts from the late 60's and early 70's, the cultural references seem interesting and historical and not dated, probably because--like everything else in this film--they are treated with respect and a sense of mercy.

If this film had been made by a French director in 1974, it would be heralded as a major classic. Oh, well.

Watch it. Savor it. This is really something special.

First of all, I highly recommend this film.

It has a good heart. It is (very) well acted. It has an intelligent, unusual, thought-provoking screenplay. And--above all--it depicts a slice of Americana that is almost completely overlooked by mainstream US culture: the world and feelings and relationships of Mexican immigrants in the white/gringo-dominated world of southern California in the 1950s.

I'm simply blown away by the cast in this well-hidden little jewel. Wendell Corey, often a kind of honking mouthpiece of insensitivity, brings a great deal of nuance to this thankless role. Claire Trevor's portrayal is also very subtly done (though there are great parts of her role where her feelings are more-than-obvious). Shelley Winters is fantastic, and I say this as someone who finds most of Ms Winters portrayals and performances near repulsive. She is absolutely brilliant and I don't think I've ever seen this particular character-type (the cynical, emotionally destroyed, sensitive whose only recourse is alcoholism) ever more convincingly portrayed.

And then there's Mr. Rourke...uh...excuse me...Ricardo Montalban. The man who normally smirks and flexes his way through roles--depending upon his (truly remarkably) good looks and his flashing smile. I never knew there was a real actor underneath that bronzed torso. Hats off to Bill Wellman (the director)! What an incredibly understated performance! This film is worth seeing just for Montalban's astoundingly effective work.

And just a word about the ensemble acting: there are many hispanic actors in this film and, sadly, I must say that I've never seen or heard of any of them, but all the other parts are played with great aplomb. (My only minor complaint is that the producers saw fit to hire the late, great Jack Elam to play Ricardo Montalban's cousin. Why, I simply have no idea, as they used hispanic actors for all the other major hispanic roles. Oh well--he does a fine job and is almost a convincing Mexican.) The story itself is simple. I'm not going to relate it here. It seems to take a real noir turn at one point, but stick with it. The ending may be a bit too Hollywood for some, but--hey--it was 1952 and it's not Sweden and it's not Ingmar Bergman, folks.

Check it out--you won't be sorry.

The screenplay from Donald Stewart is perfect. It's also impossible to say which of the three principal stars (Hepburn, Grant, & Stewart) is the most charming and irrepressible.

If you've never seen this film and you are a fan of

* American culture of the 1930's

* Hepburn, Grant, or Stewart

* Good, witty comedy then

DO NOT HESITATE--rent or buy this film immediately...you WILL NOT BE disappointed.

Why are there NO modern comedies that come even close to the depth and wit and style and class of this (or Bringing Up Baby, or You Can't Take it With You, or It Happened One Night...or...well, you get the picture).

5*****

This makes a nice bookend to Scream. Both directors and screenwriters profoundly understood the clichés of the genres (juvenile/high school horror/slasher flicks in the first case and 50's/60's Grade Z small-town alien/monster flicks in the case of Monster!). The plot is brilliant; the characters are likable and fun (except for the white, mentally-challenged ebonics boyz, who are just fun). The movie bogs a little in the straight action and suspense scenes, but this is more than made-up for by the side-splitting satirical humor--the best lines are all delivered by the inimitable M. Emmet Walsh (his opening monologue to his grandson in the "gun" room is a true high point in the history of monster films). I was a little disappointed in the Monster, but, really, he's kind of peripheral to the main point and the main fun in the movie, so he's bearable. Just remember folks, this is NOT scary; it's supposed to be a kick.

If seen in its proper venue (give ol' Jean a break, television had not been invented at this time; if it had, I strongly suspect he would have modified his shots), you will find this to be the most breathtakingly perfect film ever photographed.

What I mean by this specifically is that the camera is NEVER obtrusive; the audience is ALWAYS EXACTLY where it should be. There has never been a filmmaker who understood this type of visual perspective in the total way that M. Renoir did and this is his "user interface" masterpiece.

Easily one of the very best films ever made. Don't be fooled by the "comedy of manners" facade; this is a compelling, important story about real people...PERFECTLY made.

Enjoy!

In "Grand Illusion" and "Rules of the Game" we experience the mature genius of Jean Renoir's incomparable visual sense (perhaps genetic?) elegantly portraying complex human stories. Both of these films create their own rich worlds which may be visited and examined many times on many levels.

There are other great films that came out of WWI ("The Big Parade" and "All Quiet...", to mention but 2), but for my money, Renoir's is far and away the best. In fact, most times of the day, I'd say it's the best film I've ever seen.

If possible, see it on the big screen; you will not be disappointed.