A glorious metaphor about the price of riches, the power of lies, and the Bacchanalian excesses of the Jazz Age
The Cat's Meow (2002)
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Reviews Counted:115
Fresh:83
Rotten:32
Average Rating:6.5/10
Consensus: The Cat's Meow is a deliciously evoked period piece and whodunit.
Rated: PG-13 [See Full Rating] for sexuality, a scene of violence and brief drug use
Runtime: 1 hr 52 mins
Genre: Dramas
Theatrical Release:Apr 12, 2002 Limited
Box Office: $3,176,936
Synopsis:
From award-winning screenwriter Steven Peros and acclaimed director Peter Bogdanovich comes THE CAT'S MEOW, an extraordinary look at a fateful excursion of "fun and frolic" aboard William Randolph...
From award-winning screenwriter Steven Peros and acclaimed director Peter Bogdanovich comes THE CAT'S MEOW, an extraordinary look at a fateful excursion of "fun and frolic" aboard William Randolph Hearst's private yacht in November of 1924 that brought together some of the century's best-known personalities and resulted in a still-unsolved, hushed-up killing. As Hearst and his lover actress Marion Davies set sail from San Pedro Harbor early one Saturday morning. They host a small group that includes the brilliant but self-absorbed Charlie Chaplin, film pioneer Thomas Ince preoccupied with his recent financial setbacks, ambitious gossip columnist Louella Parsons, and the eccentric British Victorian novelist Elinor Glyn. Quickly, however, it becomes clear that although witty repartee is the order of the day, deceit and deception are also on the menu.
Everyone, it seems, has a secret agenda: Ince, whose pioneering work in defining the role of the film producer has been favorably compared to D.W. Griffith's contributions to directing, is determined to seal a partnership with Hearst's Cosmopolitan Pictures despite W.R.'s seeming lack of interest; New York-based film critic Louella Parsons has her eye on a transfer to the west coast where she can cover the film industry more intimately; Ince's lover, actress Margaret Livingston, no longer cares to keep their affair a secret; Hearst himself suspects that his paramour Davies has been unfaithful with the legendary comic Chaplin; and Chaplin indeed schemes to steal away the beautiful actress from the richest man in the world.
The boat sets off, and the first evening's dinner gives way to frenetic dancing to the on-board jazz band, followed by a screening of Ms. Davies' latest film. From there the late-night revelries shift to individual cabins for bootleg whiskey and other tempting, though illicit, nocturnal activities.
Meanwhile, Ince stokes Hearst's flames of jealousy and offers to "keep an eye on" Ms. Davies if the two men were to unite their filmmaking enterprises. At the same time, Elinor warns Marion away from the predatory advances of the womanizing Chaplin. Hearst is further incensed when a late-night wire comes in to report that a rival newspaper will publish an item romantically linking Chaplin and Davies.
The next day Hearst's party guests are treated to an unusual display when their host fires a cannonball into the stomach of a brawny vaudevillian named "Mr. Cannonball." Meanwhile, lawyer George Thomas warns the increasingly desperate Ince not to turn over to Hearst a love letter to Marion that the producer stole from Chaplin's cabin. That afternoon, as Margaret reveals to anyone who'll listen that she is Thomas Ince's lover, Marion pleads with Charlie to keep his distance, though they cannot deny their mutual attraction.
That night, Ince fuels Hearst's jealousy into a bonfire. In an attempt to further ingratiate himself to close the partnership deal, he hands Hearst the crumpled love letter that he stole from Chaplin's wastebasket. Later, as figures come and go, trading whispered conversations in the shadows, the events of the last two days hurtle toward a dramatic moment of tragedy and a single gunshot echoes in the night. The events of that evening affect the lives of every celebrity on board the ship, and before the excursion is over, all will learn the painfully high price of their precarious success. -- © 2001 Lions Gate Films
Starring: Kirsten Dunst, Edward Herrmann, Eddie Izzard, Cary Elwes
Starring: Kirsten Dunst, Edward Herrmann, Eddie Izzard, Cary Elwes, Joanna Lumley, Jennifer Tilley, Claudia Harrison, Ronan Vibert, Victor Slezak, Claudie Blakely, Chiara Schoras, Ingrid Lacey, John C. Vennema, James Laurenson
Director: Peter Bogdanovich
Director: Peter Bogdanovich
Screenwriter: Steven Peros
Producer: Kim Bieber, Carol Lewis
Studio: Lions Gate Films
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Reviews for The Cat's Meow
[Bogdanovich's] old-school cinematic technique doesn't call unnecessary attention to itself, though it also never gets beyond the surface prettiness of his actors.
Sparkles in its deft portrait of Tinseltown's seasoned veterans of gossip, wealth, paranoia, and celebrityhood.
The Cat's Meow could have been catnip -- as it is, it's just a catnap.
Citizen Kane for fans of Agatha Christie and Liz Smith: no frills, but juicy.
The Cat's Meow resembles the yacht where it takes place. Everything is arranged for fun, pleasure, and amusement. But the vehicle itself is heavy and cumbersome, and it takes a tad too long to get us where we're going.
By and large, The Cat's Meow is relatively accurate as a period piece.
The performances are a delight, especially Dunst's effervescent turn as Marion Davies.
The Cat's Meow plays like an idea for a scandalous masquerade ball rather than a movie.
A modest, restrained picture, as small and satisfying as one of Woody Allen's better recent efforts.
While it doesn't do much to convince us that Ince really died this way, the skilled cast keeps the whodunit sailing beautifully.
A delectably nasty slice of Hollywood history gets a sympathetic -- but still nicely barbed -- Hollywood treatment in The Cat's Meow.
This may not be great moviemaking ... but it's vastly enjoyable in a low-down, scandal-mongering way.
The sort of dishy backstage stuff that used to be the subject of television miniseries...doesn't get much beyond the level of simple competence.
Bogdanovich taps deep into the Hearst mystique, entertainingly reenacting a historic scandal.
'It really is rather dull, isn't it?' Louella Parsons comments at one point. There is no one better than a gossip columnist to reveal the unvarnished truth.
A better-than-competent period evocation that allows the director to flaunt his knowledge (and perhaps vent some of his own bitterness) regarding Hollywood.
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| 44% 44% | Night at the Museum: B… |
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|---|---|
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