Stays In the Picture, The (USA; 91min.)
directed by: Nanette Burstein; Brett Morgen
|Emily says: "I agree with every word Michael said...yawn!" 0 cats!|
says: "Once again, it seems I find myself in the minority opinion;
I loved THE KID STAYS IN THE PICTURE! Perhaps it is my affinity for all
things of the E! True Hollywood Story genre, but so be it.
"What can I say? 'Bob' had me laughing from the 'women in pants' line and kept me entertained throughout. I loved the animation with the paper-doll treatment of the old photos and thought that the music was well chosen. I was especially amused by the swirling backgrounds, colors and Commodores music as he discussed his discovery of cocaine. So very decadent with a good dash of silly, much like the man himself.
"There's no denying Robert Evans had a hand in some of the finest (mainstream) films ever produced. And it's also true that he made much of that happen being, in his words, a schmuck. However, I took this film at face value and must recommend it as such.
"I'll never look at Evan-Picone clothing or Ms. 'Snot-rag' McGraw the same way. My curiousity has been piqued and I'm going out to buy the book to fill in the events and scandals left out of the movie."
"It *was* a pictorial of the audiobook, with important things (like
the death of Bludhorn) left out. I was left cold as well BUT highly recommend
doing the audiobook - a much more focussed, enjoyable experience. Evans
is a good story teller and has a great voice - the 'documentarians' picture/footage
choices distracted from rather than enhanced, the experience."
And in response to Scot: "I think the guy's a true character. And I believe the only screenplay which he claimed not to have 'gotten' was CHINATOWN, and frankly I didn't completely get it back when I first saw it either (as a sneak preview with DEATH WISH!). But he respected the writer - what a concept.
"And I always thought Altman's POPEYE a quirky, underappreciated original while THE COTTON CLUB was bloated mediocrity (Fred Gwynne was good in it though).
"Not defending the film, but Evans deserves his due. Putting Roman Polanski together with an Ira Levin potboiler (he also wrote The Boys From Brazil) produced one of my favorite films of all time - ROSEMARY'S BABY. The man had a knack once upon a time. Unfortunately I doubt we'll ever know the real truth about THE GODFATHER, but Evans did at least match the project with the director."
"Despite the rave reviews I have read/heard about this documentary,
I have to say I was pretty unimpressed. THE KIDS STAYS IN THE PICTURE chronicles
the career of Robert Evans, young actor turned longtime head of Paramount
Pictures, then Film Producer who worked on films like ROSEMARY'S
GODFATHER and CHINATOWN.
Not so much a documentary, but more a filmed memoir, or better, an audiobook
set to pictures, mostly static, sometimes moving. The "animated" still shots
drove me nuts after awhile, Evans narration grew tiresome, and for me, the
film suffered from lack of alternate perspectives (which I realize was the
"Based on his memoir of the same title, KID follows Evans' career from his discovery in a Beverly Hills pool by Norma Shearer, to his rise in Hollywood as studio head, then producer, to drug allegations, loss of his home and job, and back to Paramount, producing films in the 90's. Admittedly, Evans led a fascinating life, but I personally, would have preferred a documentary about him, contrasting his views and perspectives with those around him. I was also interested in the heavy use of the word "independent" in describing Evans as a producer after his stint as studio head at Paramount. What they meant was that he was producing films on his own FOR Paramount, not that he was producing independent films.
"The one part of the film I really enjoyed takes place over the closing credits... so if you go, don't leave early. It features Dustin Hoffman in 1976, doing an imitation of Evans 20 years in the future, and it has to be seen to be believed!" 1cat
"And I would only add that I found Mr. Evans to be a thoroughly unpleasant
man. If you walk into the film with the belief that the best film is created
in Hollywood under strained political conditions and with the interference
of money-loving producers who often "don't get" the screenplay of the films
they produce ... well, you might think he's a doll.
"Funny how he claims that COTTON CLUB (a film in which he was barred from the set) has no lasting value, and then ten seconds later holds POPEYE (which he apparently had creative input on) up as one of his great achievements of the 80's." 1 big fat dead cat