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Probably one of his lesser known films, it suffers from the same lack of exposure as Salvador in that its actually one of his best.

Written by and starring Eric Bogosian, Talk Radio tells the story of an opinionated radio phone-in host who upsets the wrong kind of listener. The film is important, and has much to say on the issues of free speech and just how free it should be, and you can easily tell that it started life as a stage play. Know what you're getting into before you sit down to watch it and you'll be fine.

There isn't much to the acting really as Bogosian pretty much steals the film, he wrote and is given licence to rant, I couldn't take my eyes off him and that was part of the fascination many of the listeners had; the people who hated him wouldn't turn off in-case they missed something.

Not for everyone, but a very good drama and overall a very good film.

I have never been a great fan of Oliver Stone, often because I have found his films to be forced, preachy and generally flawed. The two Stone films I truly like are JFK and Talk Radio, yet Talk Radio takes the cake for being Stone's finest achievement. Stone is a director whereby you are either a fan or you are not, it is safe to say that before watching Talk Radio I was not fond of the guy and considered one of the most overrated directors in the film industry, though after watching Talk Radio some of my perceptions have changed. Talk Radio is an unsettling and amusing attack on what is now known as "reality TV".

Talk Radio follows a self-indulgent, dysfunctional, determined, hysterical, outrageous and perplexing radio host, named Barry Champlain who hosts a controversial late-night radio show in Dallas. Quickly becoming well known for his bold and quirky air-presence he becomes a late night sensation, whereby depraved junkies, delinquents, racists, sociopaths, sickos, perverts and morons call in to be ridiculed on air. The film shows the rise and fall of the man's career, carefully making an accurate portrayal on freedom of speech. Originally adapted from a stage-play, the film attaches itself to the theatre theme that it was originally built around, wonderfully conveying the film's fierce nature.

With the ferocious energy and non-stereotypical air, Talk Radio brings all the hilarity behind "crass media". It remains even more poignant today than it was in the late '80s. The film goes into depth studying the likes of arrogance, self-obsession, offensive behaviour, controversy, hypocrisy and ignorance. The film shows through a controlled manner how it is good to have a personal opinion and freedom of speech, yet it is something that should be used wisely rather than shamefully blunt. Stone tries to show how freedom of speech is a crucial importance in life, but is something that we should be wary and cautious about. The film asks the question of "is our main protagonist just the same as the sad people who call up the show?"

Stone fabulously creates the film's key set-piece (the radio station) with an ambition and cold atmosphere. He then succeeds in capturing the isolation, fear, ambiguity and the dangerous emotions that are built up at the radio station. Eric Bogosian is perfectly cast as the isolated, self-absorbed and complex genius, Barry Champlain. He fits the role perfectly letting off his lines with such enthusiasm, urgency, perplexity, brusqueness and ultimately the bold hilarity of his offensive nature. The performance brims with spark, which was evidently robbed of an Oscar nomination. His voice suits the character, being that a primary element of a radio host and his power of acting along with tragedy and comedy works brilliantly.

There is a strong use of editing in Stone's films and Talk Radio boasts some of his cleanest, most rhythmic editing. He uses beautifully controlled camera techniques, which differ from being calm to suddenly becoming turbulent. There is a vibrant energy behind the film, with its raw and wonderfully delightful script working as a centre-piece for the greatness of the film. The striking and virtuous cinematography stands out in the moments inside and outside the studio, most impressively capturing the city at night. Not forgetting the hauntingly heartbreaking and yet darkly funny climatic "spiral to decline" is ultimately remarkable cinema.

Talk Radio is an essential modern masterpiece, I am certain you will be surprised by just how great it really is. I highly recommend Talk Radio for anyone interested in media or film. Talk Radio is a fine example of top-notch, intellectual and insightful entertainment, which still packs a well-earned wakeup call. Finally, if it was not for Eric Bogosian the film would not be the fun, delightful and enduring masterpiece it is today.

I tend to be inclined towards movies about people who choose to cross the barriers of censorship, and express what they really want to express. Eric Bogosian's character of Barry is like Howard Stern, but much more intelligent. The character itself is very fascinating. As an Oliver Stone film, I guess I was expecting more. The film sags a bit during the third act. Plus, it's pretty obvious that "Talk Radio" is based on a play, with its long dialogue scenes. But overall, the film works. Bogosian is great in the lead, and the fact that he also wrote the play from which the movie was based on probably helped him. If you want to check out one of Stone's greater films, I better suggest you check out "JFK" or "Salvador." This is not his best work, but a good movie nonetheless.

In one of the more under-seen films of the late 1980's, at a time when Oliver Stone was riding high with Platoon and Wall Street (and before his opus Born on the Fourth of July), he co-scripted and directed this look at the world of radio, specifically one radio host in the middle of Texas. This man is Barry Champlain, in a once-in-a-career turn from Eric Bogosian, who wrote the original play and also co-wrote the script. Barry is like a mix of Howard Stern and one of those pundits you hear on the radio stations many of us might turn off. He's got ideas on his mind, opinions, and he's not only un-afraid to speak them, but also to stand up against the phone callers. The callers, indeed, are the driving force in the film, as Barry has to combat against the mindless, the obscene, the racist, and the purely absent-minded. As this goes on, he also has to contend with his boss (Alec Baldwin) and a hit or miss deal to go nationwide, outside the confines of the Southern way station he's in.

While after seeing the film I felt curious as to see how it would've been done on stage (I'd imagine it was a one-man show, as Bogosian has had several on the side), the direction of the film is phenomenal. Stone has been known, almost typecast, as a director who loves quick cuts, the limitless effects of montage, and effects with the styles of camera-work and other little tricks, that give his films in the 90's a distinctive, almost auteur look. But in the 80's he had this energy and feverish quality to the look of the film, and wasn't as frenzied as the other films. In order to add the proper intensity that is within the studio and head-space of Barry Champlain, he and DP Robert Richardson make the space seem claustrophobic at times, gritty, un-sure, and definitely on edge. The scenes in the middle of the film, when Barry isn't in the studio, are fairly standard, but the style along with the substance in the radio scenes is among the best I've seen from the Stone/Richardson combination.

And one cannot miscalculate the performance of Bogosian, who can be obnoxious, offensive, angered, passive, and everything that we love and hate in radio show hosts. There is also a funny, near distracting supporting role for Michael Wincott as Kent/Michael/Joe, who prank calls him one night, and the next gets invited to the studio. These scenes are a little uncomfortable for a viewer, but it does get very much into the subculture head-space of the 80's that Barry is as intrigued as he is critical of. The stoner may not 'get it', but as he says to him "it's your show". Indeed, it's hard to cover everything that goes on within the talk, and there is a lot of it. But it's never boring, and like Champlain himself, it's not easy to ignore. And when Bogosian goes into his climactic tirade on air, with the background panning around in a continuous 360 spin, it becomes intoxicating, and a reason why freedom of speech is so powerful.

Stone has been synonymous as a filmmaker of hot-button issues, who takes on subjects that were or still are controversial, and gives them a life-force that isn't always great, but is all his own. Here his skills and ambitions don't get in the way of Bogosian's- it's boosted, if anything, making an extremely skilled vision of what is essentially a near one-man show, which in and of itself is already well-written.

Eric Bogosian is electrifying as Barry Champlain, loud mouth and controversial host of a talk radio show. The opening 20 minutes or so is mesmerising, with its claustrophobic atmosphere and deep sense of impending menace. With the scenes involving Champlain's ex-wife, the temperature drops noticeably. The writers here take the easy option of making her too virtuous and Barry as gratuitously nasty and selfish, thus reducing any sympathy towards him. Back in the studio, the threatening atmosphere returns, but this time we have heard it before. Too many of the same callers saying much the same thing begins to pall. In particular the continual comments of an anti-Semitic nature simply wear thin. The writers once again make it easy for themselves in making all the bad callers white redneck neo-Nazis while the only obviously black caller was shown as almost Pollyannaishly happy. With a bit more variety and more honest writing (ie a wider cross-section of callers, not just endless white bigots) this could have been outstanding. As it is it is worth watching for Bogosian's wonderful performance.

When you think 'Oliver Stone' the movies that come to mind would be his biggest and most controversial ones like Platoon, JFK, Born On The Fourth Of July, or Natural Born Killers. Talk Radio usually doesn't. It's a pretty small movie, actually. More than half the movie takes place with Barry Champlain at his radio station talking into his mike. But believe me, this is one of Oliver Stone's greatest movies and should NOT be missed.

Above all things it's a character study. Barry Champlain is a rude, self-destructive, risk-taking talk radio show host who says one too many things and starts to get in trouble with his boss, his lover(s), his fans, and even some Nazis. He doesn't like his audience and callers and a lot of them don't like him (eithor that or do like him, but have no idea why). But, at the end he says on his show: "I guess we're stuck with each other."

See Talk Radio, even if you don't like Oliver Stone movies. You might be surprised. I sure was.

My Rating: 10/10

I have seen it a few times and get completely glued to it every time. It is very suspenseful and intense. To describe it sounds boring but it is amazing. It is the kind of movie where you need can't miss a thing, but if you soak it in it sticks with you long after it ends. Now thinking about it I don't even know what Stone was trying to make us see. Just the story of Alan Green? I don't think so. It was a look at ignorance, stupidity, self-absorption, and a guy just loosing his grip. Maybe he had more grip than the listeners though. I didn't like Barry but still seemed worried about him for some reason. I was perplexed at why I couldn't get him out of my mind when the movie ended. I wish I could see inside Olive Stone's mind for this one.

Talk Radio sees a man somewhat accidentally stumble through life, indeed the American Dream, from whatever bog-standard and everyday job he has in a store; to presenter of a local radio show before going right the way through to the same job only later syndicated nationwide. It's a role he adopts out of his own aggression and natural mannerisms, a frothing mad approach to freedom of speech as he attacks just about everyone and everything, even those that often call up to agree with him or compliment him. His role as a man that rants on all things good, evil, right, wrong, political, religious, moral and immoral is something that people seem to take to in one form; that of 'it's entertaining and worth tuning in for', but additionally on a plane of rejection and antagonism – two things born out of the very things seemingly encouraged in professional working life in the Western World. This, towards a man as he gets to the very top of his game by way of the American Dream and dealing in freedom of speech as people take to a man but do anything but take to what it is he says.

Talk Radio begins with a montage of tall, towering buildings in a business based area of Dallas, Texas. The skyscrapers are shot from a ,ow angle and tower over the viewer plus everything else in the general vicinity as this voice of one man tears through the images, belting out statements and information on items as these monolithic buildings dominate out screen. They are the very physical representation of capitalism, while the voice of what we learn to be a radio DJ is the oral representation of the free west; personal speech and opinions on anything and everything. Stone will finish his film in the exact same manner in which he started it, although the film is anything but a circular journey of any sort as the characters undergo monumental changes in both what they witness and their general livelihood. Rather, the shots of the buildings act as an anchor around which the study is observed. The ideologies and ideas of a way of life exist; people subscribe to them, but it does them more harm than good; before the re-establishment that this proud way of life still exists and will continue to exist in churning out the sorts of people on display in the film until someone or something drastically changes things.

The DJ is Barry Champlain, a man with a radio show on a local Texan station dealing with just about anything. Champlain's somewhat carefree attitude to some pretty explosive content is established when he flies from one call with a bigoted man whom recently visited a Holocaust museum to a young drug addict whose girlfriend has supposedly overdosed and onto both the berating and mocking of a pizza shop. To us, the content comes across as quite shocking; to these people, everything seems to be business as usual which plants some serious seeds of both doubt and horror within the minds of us, the newcomers to all of this.

What Barry's show is about, nobody ever seems to really establish: everything and nothing. Indeed, time is taken in the form of either jingles or dialogue that the shows immediately pre and post Champlain's show are on specific subjects; gardening, for instance, and are hosted by calm speaking and methodical people whom, I'm sure, do not flit from one random or extreme to another all the time raising the stakes. One wonders what Barry's jingle is, the kind that plays around about lunch time during someone else's' show: "Coming up later, the Barry Champlain show! Featuring the village idiot and psychotic drug abusers!" Indeed, his show's introductory piece carries a matter-of-fact tone, a shouting at the audience, as a loud rock track accompanies it.

Barry's success arrives in the national syndication proposal. It's born out of confrontation and a relationship built on the contempt he has for his listeners and that they have for him. The furthering of the material and the upping of the stakes ought to call into question just how far they think they can take this, and whether this progressing down a track for sake of entertainment is really worth it. It is when the show reaches this level of broadcast that Barry seems to come unstuck for the first time in his broadcasting life, when a supposed serial rapist calls in and leaves mostly everyone slightly stunned. It's at this point the camera pauses on Barry, and by way of depth of focus, encompasses those same looming, towering buildings the film began with which stand outside of the window, directly behind Barry. They remain tall and proud. Specifically, of the ideologies they've been built on and this furtherance of freedom of speech in broadening Barry's show nationwide as one man climbs his profession's ladder suddenly clashes with the sort of content that's being offered. Everything reaches a point too far, and that with freedom, ought to at least come a sense of clarity rather than a mere revelling.

Oliver Stone made Talk Radio right in the middle of both a fascinating and explosive period of film-making he had in the late 1980s. In this time, he produced a series of really well received films in a pretty short space of time; beginning with one of my favourite war films in Platoon before continuing with the quite brilliant Wall Street and eventually finishing with 1991's JFK. One might even say that this run continued on into the mid-nineties with Natural Born Killers. Talk Radio is like its lead character in the sense it's loud, booming, stark and confrontational. It isn't anti-capitalism, as much as it is focused on drawing a line between what is perceived as entertainment and what is just going too far for sake of popularity and riches. Talk Radio is certainly a film that sticks in the memory.

WOW, a masterpiece of a movie not to be missed.

I had no idea what this movie was when I started watching it late night. I didn't find out it was a Stone film until after the film when I went on IMDb. Watching it, I was mesmerized. The cast, especially Eric Bogosian is just superb. One of the best scripts and camera work ever...The movie drew me in and kept me entranced until the very end...I did not dare blink for fear of missing something...Amazing how a small-budget film can be so engrossing and well made while huge-budget films that feature tons of action and computer generated special effects can be so incredibly boring. Don't miss this film...

I found this fascinating when it came out. How I would feel about it now might be different, knowing Oliver Stone's beliefs and how he likes to put them on film. Back then, I didn't care. I just looked at this as a character study of a nasty and very disturbed radio talk show host who had nutty callers and was nuts himself.

I have to warn viewers - and this has nothing to do with politics - after the riveting first 30 minutes, this lead character "Barry Champlain" (Eric Bogosian) wears thin big-time. He is so obnoxious that he makes this movie uncomfortable to watch in a number of areas. This is not fun to witness, folks, but Bogosian does a super job in the lead role.

Personally, this story is so full of anger, hatred and sordidness that I wouldn't watch it again. However, if you know all this in advance and appreciate fine acting and different kind of story, it's worth checking out. Just don't expect to be uplifted!

A top notch drama enhanced by Stone's camera work. The story involves the meteoric rise and fall of a popular shock-jock. The main character's ego and opinions drip out of his pores like sweat on a hot afternoon. Stone's camera sweeps and glides around the radio studio like a hungry panther. His use of reflections turns up the heat until the whole world starts to warp and melt around the main character as his world starts to crumble. Bogosian's dialogue is sharp but sometimes preachy. The voices over the telephone seem brainwashed and generic but I think that was done with purpose to enhance the DJ's view of his audience as being mindless followers. The technical work on this film is what does it for me. It adds up to a fine film.

Barry is a shock jock who entertains the undemanding public by fielding calls from assorted nutcases, racists and ignorami. He keeps them at arm's length with an acid tongue and quick wit.

His show goes national, and the threats he gets on the job seem to intensify. He gets suspicious packages sent to the studio, and one of his weirder callers shows up for an up-close-and-personal interview. He has a downward spiral.

"Talk Radio" is an interesting one. Most of the movie is Bogosian as Barry talking into a microphone. The voice talents on offer are extraordinary, but the biggest stand-out of all is Michael Wincott, when he finally appears as the dark side of the "Bill & Ted" or Jeff Spicoli type of stoned heavy metal fan. This might be his best performance.

The movie is not without its flaws, however. For one thing, it doesn't seem to have a clear narrative focus. I was surprised when Barry lost it. The climactic scene comes out of nowhere. We actually get very little of what he thinks and feels about his bottom-feeding profession. He acts the scene well, but it doesn't connect.

Pretty good drama from director Oliver Stone when he was still on top of his game. Great performances and dialogue. This is about a very successful talk show radio host that pushes the envelope on the controversial issues of the day. He is very witty, obnoxious and fast talking. This is a great vehicle for Eric Bogosian to show his talents and range and he is excellent here. Our shock jockey loves to be hated and draws the ire of a local white supremacist. This has an early appearance of Alec Baldwin and features frequent Oliver Stone collaborator John C McGinley. The film is a pretty good look at American society and brings social commentary with a cynical sense of humor. It is strange that I have not seen this film until more recently and is definitely an under rated movie for sure. Talk Radio is a cool film in my book, smart, funny and well performed.

When it comes to movies, I don't easily discriminate between crap, pure crap and masterpieces. I believe this movie is an absolute masterpiece and it's hard to keep me entertained for more than 90 minutes. This movie ran SLOWER than Mystic River and Harry Potter 3 combined and I still managed to stay riveted to my seat. For me, it was the passion that Eric Bogosian put into his performance. It's extremely difficult to pull off such a stunt and manage to garner any positive effect from it. Bogosian probably nailed one of the toughest single-man performances in modern cinema. I didn't have any respect for Bogosian until the end of the film. The entire monologue minutes before the inexorable climax was the turning point, it was the key that turned me around. This man hit a point so low that he knew he could never recover from it. The corporate boys congratulated him on the performance. His blistering prose made even the slimiest one in the cavalcade shake his head in awe. It made me realize that personal integrity and hypocrisy don't matter in the world of talk radio, even in the corporate world for that matter. Stone may have been pushing some uber-liberal agenda but it was the actual movie and production that got my attention. Oliver Stone is a minor master of the moody. The final third of the film had probably the best lighting and cinematography I have seen in any film. Stone artfully makes the DJ booth feel like five-by-seven cell in a nineteenth century prison. Visually speaking, it appears that Bogosian's only friend is the black foam that absorbs his routine vitriol. He speaks and it doesn't speak back. It's a sad metaphor considering the way he treats the people who handed him his success. Stone and Bogosian carved out a stunning film of a man who is trapped in both a prison of walls and a prison of self. This man is confined to his own volition and he can never escape it. The scene that made me realize his conundrum was when he was unwilling to his ex-wife back. He preferred his own prison instead of the world on the outside. Every story has a conflict and it came down to the simplest of all conflicts: man versus himself. 'Talk Radio' presents this conflict in an intelligent, gripping, and artful fashion. There are no hidden messages in this film and the progression of events should be expected by any astute viewer. I just leaned back and let my mind be grasped by this film and I loved it. It's unheralded, unseen, and it will never receive its due recognition. Let's hope it stays that way because gems deserve to be found and then hidden again. It's a gem because I found it in the discount DVD bin at my local Wal-Mart store. For $5.50, it was worth the half-hour I spent digging trying to find it. I did and I got more than my money's worth. This is one of the best movies ever made and that is worth ten reasons alone. Ten reasons give a score of ten.

Here ends my rant!

"Talk Radio" is an Oliver Stone directed movie that is akin to the radio version of the movie "Network." The star of the movie, Eric Bogosian, plays this shock jock character with a radio name of Barry Champlain (pronounced Sham-plain). He's a cross between Howard Stern and Rush Limbaugh. He ridicules almost everyone, especially The System, and considers just about everything a joke. He operates out of Dallas where his ratings are high, but it seems to be only his haters and detractors that listen. It's as if he has an audience of masochists that listen to him just to be angry and upset. His goal is to get national syndication like any radio program, but it may require him to tone down his act for a more palatable flavor of himself. It's all a matter of if he will comply or not.

Most of the movie takes place inside the cramped radio studio. We get a little exposition on Barry just to give us an idea of his origins and his backstory. Alec Baldwin plays his boss Dan. Baldwin is perfectly suited for the boss role. He has a natural condescending and authoritative air about him. It's no wonder they chose him for the movie "Boss Baby."

Champlain's life, even if enviable in some respects, is not all together. He is not a likeable guy, but he'd fit in perfectly on the airwaves today.

(Favourite movie quote) - "I'm here to lead you by the hand through the dark forest of your own hatred and anger and humiliation."

1988's Talk Radio was adapted for the screen from the successful Broadway play, which was co-written by Eric Bogosian. Bogosian, who stars in this film, had also collaborated with director Oliver Stone on the screenplay.

Talk Radio's story was inspired by the "real-life" murder of Radio Host, Alan Berg. Bogosian plays the Berg-like character, Barry Champlain, a Jewish radio personality from Dallas, Texas.

Champlain's caustic humour and genuine knack for cutting people down with his controversial views understandably garnered him a substantial amount of incredibly hostile callers and an equal amount of threatening hate-mail.

Of course, when it comes to one's enjoyment of Talk Radio, as a movie, it all pretty much depends on one's tolerance for this sort of Talk Radio Host.

Personally, I think that Oliver Stone did a really fine job of directing this film.

"Talk Radio" is my favorite Oliver Stone movie, though he has made many great ones including "Salvador", "JFK", "Natural Born Killers" and "Platoon". But I like the intimacy of "Talk Radio", a cinematic expansion of Eric Bogosian's searing stage play that was based on a real life account of a Dallas talk show host. Working with ace cinematographer Robert Richardson, Stone turns what could have been a very set-bound exercise into a visually arresting ideological battle that presents a radio station as an arena of war. Bogosian is devastating as tortured on-air spouter of abuse Barry Champlain and conveys the conflicted, destructive nature of his character with conviction and a generous dose of self-loathing. Alec Baldwin, as his Alpha male boss, strikes the perfect note as a man driven nuts by a guy whose monstrousness he helped nurture. Ellen Greene is fantastic as Barry's sweet ex-wife who ends up becoming another target of his vicious personal vitriol. Stone and Bogosian fill every frame with interest and every line of dialog with sweet poison and cutting ambiguity. John C. McGinley, as Barry's long-suffering screener/technical producer Stu, turns in a hilarious, sharp performance, as does the great Michael Wincott. The film is a flawless, underrated masterpiece of superb writing, awesome acting and brutal, uncompromising direction. The Stewart Copeland score is brilliant, too.

The most remarkable thing about "Talk Radio" is how bad it is. The callers' voices all have a phony, reading-from-a-script ring to them. An evening with an annoying loudmouth at a Dallas radio station is told with the portentousness of a Sartrean glimpse into Hell. Stone tries for an existential revelation and gets unintended comedy instead. Whenever a caller makes a "profound" (empty) point about something, Stone shoves the camera at one of his character's face as they are stricken with some traumatic realization that is never revealed to the audience. Bogosian overacts throughout in one of the most irritating performances ever smeared onto celluloid. Underrated classic? Give me a break.