This smart, good-looking movie deserves an audience.
The Dying Gaul (2005)
Tomatometer
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Reviews Counted:66
Fresh:32
Rotten:34
Average Rating:5.7/10
Consensus: Though it has a fine cast, The Dying Gaul's plot feels calculated and too intellectualized.
Rated: R [See Full Rating] for strong sexual content and language.
Runtime: 1 hr 45 mins
Genre: Dramas
Theatrical Release:Nov 4, 2005 Limited
Box Office: $278,160
Synopsis: Playwright/screenwriter Craig Lucas (The Secret Lives of Dentists, Longtime Companion, Prelude to a Kiss) makes an audacious directorial debut with The Dying Gaul, a fiercely original psychological... Playwright/screenwriter Craig Lucas (The Secret Lives of Dentists, Longtime Companion, Prelude to a Kiss) makes an audacious directorial debut with The Dying Gaul, a fiercely original psychological thriller based on his play of the same name. Part Sunset Boulevard, part Greek tragedy, The Dying Gaul is a tale of lust, power, corruption, betrayal and revenge set in the seductive world of the Hollywood elite. Peter Sarsgaard stars as Robert Sandrich, a fledgling screenwriter who has been living on the fringes, writing spec script after spec script to no avail. His life changes when he is offered a million dollars for his latest and most personal work - "The Dying Gaul," the raw, autobiographical story of the death of his lover. But there's a catch - the studio thinks the project will be much more commercially viable if Robert will only change the dead lover to a woman. Making the offer is Jeffrey (Campbell Scott), a smooth, ruthless and sexually avaricious studio executive who seduces Robert with the intoxicating Hollywood cocktail of power, money and sex. Patricia Clarkson stars as Jeffrey's wife, Elaine, a former screenwriter now ensconced in a Malibu villa with children, a housekeeper, and time on her hands. She brings the grieving Robert into the family fold, drawn by his talent and his pain. When Robert confides that he finds solace, both sexual and emotional, in the ghost-like world of chat rooms, the curious Elaine meets him there anonymously. As their online dialogue unfolds, she discovers that Robert and her husband are having an affair. The shock of that revelation - and the unexpected way she responds - sets off a dangerous series of deceptions, confessions and betrayals. Never sliding into the conventional histrionics of the thriller, The Dying Gaul is infinitely more complex, as the lines between predator and prey, sadist and victim shift and blur. Visually stunning, The Dying Gaul contrasts the dazzling California sunlight that bleaches out the palm-lined movie studios and oceanfront estates with the cold and detached world of cell phones and computers. What emerges is a truly original postmodern Hollywood noir, unsettling, unpredictable and morally explosive. As John Cooper writes in the 2005 Sundance Film Festival program, "Lucas has honed a precise, interlocking plot that exploits his scalpel-sharp irony. The Dying Gaul will push you to the edge of your seat, simultaneously unnerving you with its complexity and frightening you with its believability." --© Hole Digger Studios [More]
Starring: Patricia Clarkson, Campbell Scott, Peter Sarsgaard, Robin Bartlett
Starring: Patricia Clarkson, Campbell Scott, Peter Sarsgaard, Robin Bartlett, Bill Camp, Thomas Jay Ryan
Director: Craig Lucas
Director: Craig Lucas
Screenwriter: Craig Lucas
Producer: Campbell Scott, George Van Buskirk
Composer: Steve Reich
Studio: Strand Releasing
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Reviews for The Dying Gaul
Craig Lucas’s film directing debut, and it’s impressive. The film never feels one bit like a stage adaptation. (I had no clue that it was based on a play until the end credits). It’s also visually surefooted.
sex, lies, and screenwriters. Add in guilt, retribution, seduction, massive quantities of manipulation and you get a juicy twisted love story.
The crackling, nasty dialogue is entertaining in the way it is in All About Eve or Valley of the Dolls, and the actors are superb, even if Tharthgaard doeth overdue the lithping a bit.
The film plays for keeps: It hurts and it doesn't back away from messy questions about art, commerce and conscience.
A fantastic premise is squandered, only to be saved by a riveting final act.
An engrossing psychodrama about Hollywood, sex, and the primal emotions that can drastically change people's lives.
Rarely has a film exposed the tender, brutal line between love and cruelty so magnificently.
Lucas' evolved sense of character refuses to apply definitive shades of good and evil to anyone in this distressing triangle.
Campbell Scott, Peter Sarsgaard and Patricia Clarkson fill the disconcerting material with measured, subtle performances that bring home what's not being said.
Stagey, but an original story about a producer and a screenwriter whose relationship is not entirely professional.
Ultimately settles into the whip-smart independent it was meant to be.
[E]xcept for some problems in the middle act, the movie is easy to swallow.
Verbally well-matched, morally ambiguously fascinating together, they are exciting to watch.* All three leads give extraordinary performances.
Acclaimed playwright Craig Lucas' directing debut is a flawlessly acted adaptation of his own stage play.
The Dying Gaul has the tight, nailed-down structure of a good play. But it's the actors who really lift the movie above the shortcomings of its plot.
Peter Sarsgaard is particularly exceptional in this dark look at art and artifice, but [its] twists may prove too much of a hairpin curve for most.
| Tomatometer Percentage | Movie |
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| Tomatometer Percentage | Movie |
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| 88% 88% | Inglourious Basterds |
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