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.
The Last Tycoon (1977)
Tomatometer
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Reviews Counted:18
Fresh:8
Rotten:10
Average Rating:5.4/10
Runtime: 2 hrs 5 mins
Genre: Dramas
Synopsis: The seedy underbelly of the Hollywood film industry is brought to light in Elia Kazan's powerful adaptation of F. Scott Fitzgerald's last, unfinished novel. Robert DeNiro anchors the film with his... The seedy underbelly of the Hollywood film industry is brought to light in Elia Kazan's powerful adaptation of F. Scott Fitzgerald's last, unfinished novel. Robert DeNiro anchors the film with his commanding portrayal of 1930s movie mogul Monroe Stahr (modeled after MGM's studio head Irving Thalberg), a ruthless businessman who dominates studio politics but remains haunted by a lost love from his past. Scripted by playwright Harold Pinter, this rich evocation of 1930s Hollywood features strong supporting performances by Tony Curtis, Robert Mitchum, Jeanne Moreau, and Jack Nicholson. [More]
Starring: Robert De Niro, Tony Curtis, Robert Mitchum, Jack Nicholson
Starring: Robert De Niro, Tony Curtis, Robert Mitchum, Jack Nicholson, Jeanne Moreau, Theresa Russell, Donald Pleasence, Ray Milland, Dana Andrews, Ingrid Boulting, Anjelica Huston
Director: Elia Kazan
Director: Elia Kazan
Screenwriter: Harold Pinter
Story: F. Scott Fitzgerald
Producer: Sam Spiegel
Composer: Maurice Jarre
Reviews for The Last Tycoon
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.
Fitzgerald's unfinished novel transfers awkwardly to the screen but is saved from oblivion by that always-fascinating actor De Niro.
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.
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.
An exquisite screen interpretation of F. Scott Fitzgerald's unfinished novel on Hollywood during the Thirties
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.
Kazan's rigid directing kills the spontaneity of nearly every cast member.
Elia Kazan now admits that he directed this adaptation, his last Hollywood film, for the money. Unfortunately, it looks it.
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).
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.
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