Though it may not be as comprehensive as some would like, Francis Ford Coppola's cheerful biopic of the failed automotive designer features sparkling direction and a strong central performance from Jeff Bridges.
Though it may not be as comprehensive as some would like, Francis Ford Coppola's cheerful biopic of the failed automotive designer features sparkling direction and a strong central performance from Jeff Bridges.
History tells us that would-be automobile mogul Preston Tucker was a silver-tongued con man, who misappropriated his investors' money and played fast and loose with ethics and legalities in the pursuit of his dream. Filmmaker Francis Ford Coppola isn't buying this: to hear Coppola tell it, Tucker was "Mr. Smith Goes to Detroit," a sincere visionary who tried and failed to buck the Big Three auto manufacturers. Moreover, he was a staunch defender of family values, as witness his inseparable
relationship with his loyal wife (Joan Allen) and adoring children. It was for his family's sake, rather than any dreams of financial gain, that Tucker created the oddball three-headlight vehicle which he envisioned as the "car of the future". Naturally, the corporate fat cats of 1947 can't abide competition from a rugged individualist; thus, with several politicos in their pockets, they crush the Tucker and the man who built it. We'd have been more inclined to believe the story had Coppola adopted a straightforward Capraesque approach and not utilized all sorts of complicated camera trickery. Somehow, by presenting Tucker in so showoffy a directorial manner, the character comes off more as a sleight-of-hand artist than a bastion of sincerity. Even so, Jeff Bridges does a nice job as Tucker, as does Martin Landau as Tucker's incongruous business partner. Jeff's dad, Lloyd Bridges, appears in an uncredited role as a "bought" senator. ~ Hal Erickson, Rovi
The true story of a great American visionary who was thwarted, if not destroyed, by the established order, Tucker represents the sunniest imaginable telling of an at least partly tragic episode in recent history.
The result is a film consistent narratively, confident stylistically and abounce with the quaint quality that animated both the hero and his times, something we used to call pep.
Francis Coppola's stylish and heartfelt tribute to the innovative automobile designer Preston Thomas Tucker turns out to be one of his most personal and successful movies.
Tucker. Never heard of him till I stumbled upon this movie (which was just yesterday). Or should I say that I'd never heard of this movie till y'day??!!! (Take your pick from the one that sounds more appealing.) Maybe because the movie didn't have any moment that lingers in your mind for long. Everyone have put in
their sincere effort at every level, but not exceptional. The fact that it's based on real life person who struggled hard for success (and whose life story could have been more inspiring) doesn't help it any because it has a feel of "been there, seen it all". As much as I applaud his efforts to realize his dreams, I still gotta admit that the movie was a plain mediocre which doesn't incline me the least to learn more about him or check out how much historically correct the movie was (which happens more often than not for such movies).PS: I know some might feel that it's not fair to consider a movie mediocre just because it's presented without much dramatization, but that's how the score stands for me. Can't fight fact!!!
Uhh, it's not bad? I like the 50s clothes and references, but Coppola always makes his films so unnecessarily heavy, even when they're not supposed to be.
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