Hellen I like the storyline of this show,it attract me so much

Yash Wade Close shines in drama with strong language, adult themes.

Payno I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Dana An old-fashioned movie made with new-fashioned finesse.

dougdoepke No need to recap the plot. The first part in the studio featuring old time film actors and developing story had me thinking really good movie. Then the story hit a dead stop with a romance about as interesting as watching proverbial grass grow. And after watching De Niro deadpan his way through two whole hours, I roused myself with a big dose of Hopalong Cassidy. Now some folks may think that names like Kazan, Pinter, and De Niro can do no wrong. But, in my little book, they made a real snoozer out of melodramatic material that 1952's unapologetic The Bad And The Beautiful did up right. I'm just sorry the great director Kazan went out on a parade of meaningless close-ups and a sterile central performance-- a long, long way from his better work. Fortunately, Russell and Nicholson add some spark to the flattened result. I only hope proved performers like Milland and Andrews were well paid for their wasted cameo appearances. I realize that the production was constrained by its real life subject, Irving Thalberg. In fact, the head of MGM Production may indeed have been a pensive undemonstrative man. But stressing that on screen doesn't help. Why not a shot or two of his having fun or showing some anger. Something to engage with. Of course, I may have missed some hidden subtleties and symbolism, his unfinished house, for example . Trouble is it's hard to seek out subtleties without that engagement. There's a lesson here, I think. Something about not confusing big names with big results. Fortunately, De Niro's career went on to show what he could really do.

blanche-2 Robert De Niro is handsome, slim, and elegant as "The Last Tycoon," a 1976 film with a screenplay by Harold Pinter and directed by Elia Kazan. The original story is by F. Scott Fitzgerald.Some background: After Norma Shearer retired, she wanted Tyrone Power to film "The Last Tycoon," which she planned to produce. Fitzgerald modeled the main character, Monroe Stahr, after Shearer's late husband, Irving Thalberg. The film never happened.Like Hemingway, Fitzgerald is difficult to put on film, though for different reasons. Fitzgerald was a true poet, and his words did everything. There's not much action. Thus is the case in "The Last Tycoon," where nothing happens for what seems like hours.The film sports a fabulous cast of old-timers: Robert Mitchum, Tony Curtis, Jeanne Moreau, Ray Milland, Dana Andrews, and John Carradine; and it introduces us to Theresa Russell, Angelica Huston, and Ingrid Boulting, who now teaches yoga in Ojai California and looks exactly the same as she does in this film. Don't ask me how. Jack Nicholson has a small role, as does everyone except De Niro and Boulting. The rest jump in and out like pop tarts.This is a somewhat fictionalized version of Thalberg's life at MGM. He is involved in a romance with Kathleen Moore (Ingrid Boulting) who seems to be playing mind games with him. She says goodbye when she means hello, tells him that she can't see him again and then shows up, writes him farewell letters five minutes after she sees him, that kind of thing. Cecilia (Theresa Russell), the daughter of the studio head Pat Brady (Mitchum) is madly in love with him, but he doesn't even notice as he's so fixated on Kathleen, who is engaged to someone else but keeps coming around.Brady, modeled on Louis B. Mayer, resents Stahr, as Mayer resented Thalberg, but Brady only says he resents him. We never see him REALLY resent him. No one really does much interacting. Tony Curtis sports a mustache as Rodriguez, a sexually confused leading man who is playing opposite the temperamental Didi (Jeanne Moreau) in a Casablance ripoff that has Moreau in Ingrid Bergman's same hat and coat, and Curtis playing the piano. P.S. Moreau can sing about as well as Ingrid Bergman hummed "As Time Goes By" -- not well. There is a moment of humor when, as the film ends with Moreau saying 'Nor do I,'there is a moment of silence. Then Brady says, "The French actresses are so...compelling." Silence. Stahr says, "'Nor do I. Nor do I.' When has anyone ever said to you, 'nor do I?' The scene has to be completely reshot, it's awful. I want four writers assigned to it tonight." De Niro is perfection as Monroe Stahr, from the way he sits at his desk wearing his horn-rimmed glasses, to his posture. Boulting is exceedingly dull. I never thought Theresa Russell could act her way out of a phone booth, though she had a few decent moments in "Black Widow." Most of the actors are completely wasted. One interesting thing: Viewing this film today, one becomes aware of how un-used we are now seeing older actors sans face lifts, big lips, and botox.All in all, I found this film disappointing. Pinter's script is slow and long, there's no excitement, let alone much story. Elia Kazan was a great director, but there probably wasn't much that he could do."The Last Tycoon" has been lauded by some as an unappreciated masterpiece, but one of the reviewers on IMDb also felt Theresa Russell gave a brilliant performance. I didn't see what some of these enlightened viewers saw, nor have I been haunted by the movie. In fact, I find it easy to forget.

Robert J. Maxwell I stopped reading Fitzgerald's novel about half way through because it was embarrassingly bad, coming as it did after his masterpiece, "The Great Gatsby," and left unedited. The film isn't much of an advance as far as plot is concerned. It's more of a character sketch than a gripping story. A man only loves two things and loses them both.But what a cast and crew! Elia Kazan directs De Niro, Mitchum, Curtis, Moreau, Nicholson, Theresa Russell, Donald Pleasance, Ray Milland, Jeff Corey, Dana Andrews, Angelica Huston, and other familiar presences in a screenplay by Harold Pinter from a novel by F. Scott Fitzgerald. What a pedigree.De Niro has never been better, not even as an Italian-American hood. He's thrown himself into the role, altering his appearance so that he's hardly recognizable -- pale, very thin, perceptive, sensitive, taciturn, blunt.As the Thalberg figure at MGM, he loves making movies. He's as demanding with himself as he is with everyone else. He has no genuine social life until he falls in love at first sight with Ingrid Boulting. That's the second thing he loves. And after she has a brief fling with him, she ditches him to marry another man. Boulting, alas, isn't much of an actress. She has a fine figure but the overall impression she generates in the viewer is that of some kind of animated, life-sized kewpie doll. The other recognizable names in the cast don't really have much to do, while Boulting has too much screen time.The final scene, after De Niro is fired, is pretty stylized. He repeats an earlier scene, this time speaking directly to the camera, and the last we see of him is when his figure disappears into the vast, black maw of an empty sound stage. The real Thalberg died of a heart ailment while still in his thirties. Sad.

PimpinAinttEasy Dear IMDb, Why isn't this film more well known? Yes, Ingrid Boulting did ruin it a little bit. She really wasn't up to the mark. You didn't feel that she was this unattainable woman.But the rest of the cast is first rate. I mean, De Niro, Nicholson and Mitchum in the same film - it is one of the great star casts of the 70s. De Niro gets some great chances to show off his acting skills. And then there is Theresa Russell, Tony Curtis and Donald Pleasance lending support.The film is really understated. Maybe it lacked narrative punctuation - I mean those two to three magnificent scenes which would really elevate the movie to another level. But i still like watching this over and over again. It is so memorable and melancholic. Some of the expressions on Den Niro's face were simply devastating. Best Regards, Pimpin.(9/10)