Füge eine Handlung in deiner Sprache hinzuTulley, a once-promising literary star now biding his time as an advertising copy editor, moves from cynicism to acceptance as he secretly hopes to write a great novel only to learn that his... Alles lesenTulley, a once-promising literary star now biding his time as an advertising copy editor, moves from cynicism to acceptance as he secretly hopes to write a great novel only to learn that his life of booze will end all too soon.Tulley, a once-promising literary star now biding his time as an advertising copy editor, moves from cynicism to acceptance as he secretly hopes to write a great novel only to learn that his life of booze will end all too soon.
- Auszeichnungen
- 5 Gewinne & 1 Nominierung insgesamt
Thomas Sadoski
- Scott
- (as Tom Sadoski)
Empfohlene Bewertungen
Hey Mike, I can't have an objective point of view about your movie, that's really amazing, you know, I think you have had a lot of inspiration from Woody Allen with the music, the artistic quality of the image etc... your movie made me cry at the end (just like Christophe, remember? hey). I don't know what to say except that you gave us a film that people was not really waiting for, I guess and this movie is just an enjoyment for me (and for many people, I hope)but all that I can say
is that you're the most original director of these times.
I wish I 'll see you soon again, Mike, and I'm really waiting for your next movie !
is that you're the most original director of these times.
I wish I 'll see you soon again, Mike, and I'm really waiting for your next movie !
10smc7431
If only we all could be honest about our demons. I adore this movie. Who could not when loved ones and friends didn't judge Tully, only loved him. We are who we are.
I saw this film at the Austin Film Festival and enjoyed it immensely. It is much superior to most Hollywood schlock and slash. It has a literate script, interesting characters, witty banter, and a fine blend of tragedy and comedy (or was it comedy and tragedy?) that is difficult to finesse. Although some of the subject matter is dark, it remains comic -- not in the broad, rowdy M*A*S*H sense, but in a charming, everyday, real-life sense. The film's courage to be honest about how someone's self-inflicted tragedy doesn't necessarily consume everyone around him was refreshing, and the life-goes-on message is honest and not cliched. There are fine lead performances by Anthony LaPaglia, Eric Stoltz, and Caroleen Feeney, and a great turn as a comic villain by Tom Sadoski. His comedy is wickedly balanced by a more darkly villainous Robert Vaughn. The tone of the film hangs in between, in tipsy harmony. This film deserves a well-publicized theater run. See it!
"Happy Hour" is a well-acted but dated feeling portrait of an alcoholic.
Far less harrowing than addiction films from "Days of Wine and Roses" and "The Lost Weekend" to "Permanent Midnight," writer/director Mike Bencivenga makes a heavy drinker and his enablers out to be genial wasters of talent until the physical ramifications become unavoidable.
Anthony LaPaglia is a charismatic alcoholic, if a mean supervisor at work, and we have to accept that is enough to justify the noble loyalty of a teacher he picks up in a bar and his best friend, a long-time co-worker. The triangle is also old-fashioned, barely hinting at the kinds of depths as are in "A Home at the End of the World." There's a brief mention in passing that his mother is also an alcoholic, but the friends seem to be social drinkers who were just keeping him company drink for drink, and can give it up at will and be inspired by LaPaglia's character to change their lives.
The voice-over narration is a bit "Sunset Boulevard"-ish, but is fit into the story line of the central character as a writer finishing his book.
Nice NYC touches: to have LaPaglia be a kind of Delbert McClinton in Mary Lou Lord's band and to have his dad, as played by Robert Vaughn, be part of a circle at The Algonquin that includes such noted commentators on heavy drinking as Pete Hamill and Steve Dunleavy.
Far less harrowing than addiction films from "Days of Wine and Roses" and "The Lost Weekend" to "Permanent Midnight," writer/director Mike Bencivenga makes a heavy drinker and his enablers out to be genial wasters of talent until the physical ramifications become unavoidable.
Anthony LaPaglia is a charismatic alcoholic, if a mean supervisor at work, and we have to accept that is enough to justify the noble loyalty of a teacher he picks up in a bar and his best friend, a long-time co-worker. The triangle is also old-fashioned, barely hinting at the kinds of depths as are in "A Home at the End of the World." There's a brief mention in passing that his mother is also an alcoholic, but the friends seem to be social drinkers who were just keeping him company drink for drink, and can give it up at will and be inspired by LaPaglia's character to change their lives.
The voice-over narration is a bit "Sunset Boulevard"-ish, but is fit into the story line of the central character as a writer finishing his book.
Nice NYC touches: to have LaPaglia be a kind of Delbert McClinton in Mary Lou Lord's band and to have his dad, as played by Robert Vaughn, be part of a circle at The Algonquin that includes such noted commentators on heavy drinking as Pete Hamill and Steve Dunleavy.
The acting of both Anthony LaPaglia as the alcoholic and Eric Stoltz as his loyal friend Levine is faultless. Anthony LaPaglia in particular is stunning in the lead role of Ryan Tulley Jnr. and more than matches his superb performance as Leon in "Lantana". He imbues the character of Tulley with such charisma that one can readily understand why Levine and Tulley's girlfriend Natalie are so willing to care for him when his health breaks down.The story revolves around a disaffected middle aged man with a writer's block of seventeen years duration, his only recourse being to the bottle. But be warned the graphic detailing of his consequent health problems including vomiting, hemorrhages and colostomy bags may be too harrowing for some. Do not fear though, the movie is not without its humorous interludes. Plus the most tender love scene ever!This is an excellent,absorbing and moving little film, and an absolute must-see for all those Stoltz and LaPaglia fans out there!!
Wusstest du schon
- WissenswertesAfter some time in the movie, Levine asks: "I don't suppose she has a sister", and Tulley answers: "Three brothers". The line: "I can't catch a break. What's her mother like?" was totally improvised. That's why Tulley almost chokes on the bourbon.
- VerbindungenReferences Tell Your Children (1938)
- SoundtracksWaitin' for Days
Written by Jeffrey Taylor (as Taylor)/Laura Doyle (as Doyle)/Malone
Vocals performed by Patrick Tuzzolino
Music produced, arranged & performed by Jack Spectacular
Mr. Tayloristic Music (ASCAP) & Laura Doyle (SOCAN)
admin. by Bug Music, Inc.
Top-Auswahl
Melde dich zum Bewerten an und greife auf die Watchlist für personalisierte Empfehlungen zu.
Details
- Erscheinungsdatum
- Herkunftsland
- Offizieller Standort
- Sprache
- Auch bekannt als
- Amore e odio a New York
- Drehorte
- Produktionsfirmen
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 1.625.000 $ (geschätzt)
Zu dieser Seite beitragen
Bearbeitung vorschlagen oder fehlenden Inhalt hinzufügen