The Last Tycoon (1976)
Average Rating: 5.3/10
Reviews Counted: 17
Fresh: 7 | Rotten: 10
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Average Rating: N/A
Critic Reviews: 4
Fresh: 2 | Rotten: 2
Average Rating: 3.2/5
User Ratings: 2,922
Elia Kazan directed this curiously constipated film adaptation of F. Scott Fitzgerald's unfinished final novel, about Monroe Starr, a brilliant and efficient studio executive (based upon Fitzgerald's experiences with MGM wunderkind Irving Thalberg). Robert De Niro plays Monroe Starr in a cool and detached manner, and as Kazan pans around the Hollywood Dream Factory of the 1930s, Starr juggles several productions, deals with nervous actors and recalcitrant directors, stays afloat in the Hollywood
Nov 19, 1976 Wide
Nov 18, 2003
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Robert De Niro
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Producer Sam Spiegel's contribution is admirable, but Elia Kazan's direction of the Pinter plot seems unfocussed though craftsmanlike. Robert De Niro's performance as the inscrutable boy-wonder of films is mildly intriguing.
De Niro proves again how well he can carry a part, and is particularly good in scenes dealing with the day-to-day business of movie-making.
The movie is full of echoes. We watch it as if at a far remove from what's happening, but that too is appropriate: Fitzgerald was writing history as it happened.
Elia Kazan now admits that he directed this adaptation, his last Hollywood film, for the money. Unfortunately, it looks it.
Kazan's rigid directing kills the spontaneity of nearly every cast member.
It's a film that takes Hollywood too seriously and seems to worship with piety at its altar, but was too awkwardly presented to mean much.
Fitzgerald's unfinished novel transfers awkwardly to the screen but is saved from oblivion by that always-fascinating actor De Niro.
Out of place and not quite interesting enough to hold our attention, which is a disappointment, because it has many of the elements that can make for greatness.
Interessante na maior parte do tempo, o filme acaba sendo prejudicado pela fraca subtrama romântica e pelo final medíocre (adaptar um livro inacabado pode ser má idéia).
An exquisite screen interpretation of F. Scott Fitzgerald's unfinished novel on Hollywood during the Thirties
De Niro is well cast and star-spotting is always fun, but Kazan's direction never truly elicits the audience's empathy and Pinter's script has too many silences.
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