NOTE IMDb
5,2/10
1,9 k
MA NOTE
Ajouter une intrigue dans votre langueAn artist, framed for the murder of a woman, is drawn into a web of corruption, blackmail and deceit.An artist, framed for the murder of a woman, is drawn into a web of corruption, blackmail and deceit.An artist, framed for the murder of a woman, is drawn into a web of corruption, blackmail and deceit.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 2 nominations au total
Don Keith Opper
- Buddy
- (as Don Opper)
John Currie Slade
- Junkie
- (as Jon C. Slade)
Avis à la une
I caught this movie on cable late one night and was pleasantly surprised. I found it to be entertaining and even a bit suspenseful in a 'Memento' sort of way. Adam Ant has some good comic relief and Tom Hulce is very satisfactory in the lead role. If you are looking for a sleeper at the local video store, check this one out. It appears at times to be a low-budget, late 80's type of film, but sometimes that is not a bad thing at all. I gave/give this film a solid 7 out of 10, and I recommend it for viewing. Two or three cocktails is a nice beginning to this steady film. The only real drawback is the heavy, who comes off as so wimpy that Virginia Madsen could take him out, but hey, that is just my opinion.
Hulce is a great actor who eventually fell off the face of the earth after an Oscar worthy performance in Amadeus. Wasted talent on this dud. Boring movie.
Terrific cast including Tom Hulce, Mary Elizabeth Mastrantonio, Virginia Madsen, Harry Dean Stanton, Millie Perkins and rock star Adam Ant is wasted in this lackluster wrong man/blackmail drama (its title apparently picked out of a hat). Hulce, looking like something that got caught in the clothes dryer, plays a Los Angeles cartoonist whose affair with a murdered girl involves him a scandal that sucks him into a whirlpool of danger. Early effort from director Wayne Wang (who later helmed "The Joy Luck Club" and "Maid in Manhattan") is all sleek '80s style and posturing with zero substance. NO STARS from ****
Ready for a wild ride into the underworld?
Murder, sex, Mafia, cops, love and marriage ... Slamdance has it all!
C.C. Drood* is a cartoonist but his life is anything but a comic strip. When an affair with a mystery woman he meets at a friend's club leads to murder and his implication, life turns upside down for Drood. Just wanting to reunite with his wife and their daughter, Drood has to solve a mystery that even the cops can't figure out. And life begins to imitate art ... the art of being treacherous!
==========> *TOM HULCE is C.C. Drood. Tom, again, brings us a complete character ... as real as life. Drood has a funny side, a serious side, a vulnerable side and a loyal side. He shows us the chaos of being caught in a lie and the struggle of trying to straighten it out. Drood is a great role and is done to perfection by Hulce!
Murder, sex, Mafia, cops, love and marriage ... Slamdance has it all!
C.C. Drood* is a cartoonist but his life is anything but a comic strip. When an affair with a mystery woman he meets at a friend's club leads to murder and his implication, life turns upside down for Drood. Just wanting to reunite with his wife and their daughter, Drood has to solve a mystery that even the cops can't figure out. And life begins to imitate art ... the art of being treacherous!
==========> *TOM HULCE is C.C. Drood. Tom, again, brings us a complete character ... as real as life. Drood has a funny side, a serious side, a vulnerable side and a loyal side. He shows us the chaos of being caught in a lie and the struggle of trying to straighten it out. Drood is a great role and is done to perfection by Hulce!
I may be a one-person cult for this picture. I have had a soft spot for it ever since I saw the movie on the late show in 1989. Some of the other reviewers for this title have made a reasonable assertion as to why they don't like SLAMDANCE, and interestingly enough, I understand and agree with their decisions. Yes, this movie is a disjointed mess, but it has a strange beauty on a visceral and emotional level; this sets it apart from way too many films made in the decade which threw everything together in order to seem different, regardless of whether everything gelled.
For instance, this film veers uncomfortably from goofy comedy to more sordid material. However, that makes sense as the central character is a cartoonist- a man-child who teeters between the comic book sensibilities of his work, and the demands of the very adult real world (he seldom lives up to his responsibilities). Mr. Drood is a perpetual screw-up; he was barely supportive of his wife and child, and now must deal with unfathomable emotions since he is now implicated in the murder of a fleeting flame.
I've never been much of a fan of Virginia Madsen, particularly because this classy, slightly mysterious blonde has never been given good material... at least until recently. But Wayne Wang understands her screen presence perfectly. The highlight of the film is Tom Hulce's scenes with her (set in the movie's past). These moments with the femme fatale are beautiful evocations of allure, desire and implicit danger underneath the colourful settings- classic traditions of film noir. With their saturated hues and sexy jazz soundtrack, these moments work on an almost dreamlike approach.
Even though SLAM DANCE is a dog's breakfast of styles and tones, this segment is nonetheless indicative of the film's success on a completely non-literal level. Yes this is another 1980's quirky film which has the obligatory cameo by a punk musician... and the "hip" quotient also given by a Harry Dean Stanton role, but there's just something more about it that makes not just another curiosity piece. The first time I saw it in 1989, I was with two others who didn't like the movie at all. As much as I could understand their reasons why, I still feel that this odd duck of a movie has that special "something"... and I have still felt that after repeated viewings. It either works for you, or it doesn't. It just depends on whether the film hits you on the right emotional level.
If you looked up this title because you have a strange attraction to this picture, you're not alone.
For instance, this film veers uncomfortably from goofy comedy to more sordid material. However, that makes sense as the central character is a cartoonist- a man-child who teeters between the comic book sensibilities of his work, and the demands of the very adult real world (he seldom lives up to his responsibilities). Mr. Drood is a perpetual screw-up; he was barely supportive of his wife and child, and now must deal with unfathomable emotions since he is now implicated in the murder of a fleeting flame.
I've never been much of a fan of Virginia Madsen, particularly because this classy, slightly mysterious blonde has never been given good material... at least until recently. But Wayne Wang understands her screen presence perfectly. The highlight of the film is Tom Hulce's scenes with her (set in the movie's past). These moments with the femme fatale are beautiful evocations of allure, desire and implicit danger underneath the colourful settings- classic traditions of film noir. With their saturated hues and sexy jazz soundtrack, these moments work on an almost dreamlike approach.
Even though SLAM DANCE is a dog's breakfast of styles and tones, this segment is nonetheless indicative of the film's success on a completely non-literal level. Yes this is another 1980's quirky film which has the obligatory cameo by a punk musician... and the "hip" quotient also given by a Harry Dean Stanton role, but there's just something more about it that makes not just another curiosity piece. The first time I saw it in 1989, I was with two others who didn't like the movie at all. As much as I could understand their reasons why, I still feel that this odd duck of a movie has that special "something"... and I have still felt that after repeated viewings. It either works for you, or it doesn't. It just depends on whether the film hits you on the right emotional level.
If you looked up this title because you have a strange attraction to this picture, you're not alone.
Le saviez-vous
- AnecdotesWayne Wang tried to get his name off the picture after creative interference from the producers.
- Citations
Helen Drood: How do you do it?
Drood: Do what?
Helen Drood: You walk in and everything falls apart.
Drood: Helen, I just got hit in the nuts with a fucking rubber chicken!
- ConnexionsFeatured in Tim Scott: High Hopes (1987)
- Bandes originalesBing Can't Walk
Written by Stan Ridgway
Performed by Stan Ridgway and Mitchell Froom
Produced by Mitchell Froom
Published by Mondo Spartacus/Illegal Songs
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- How long is Slam Dance?Alimenté par Alexa
Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- Un fauteuil pour l'enfer
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 4 500 000 $US (estimé)
- Montant brut aux États-Unis et au Canada
- 406 881 $US
- Week-end de sortie aux États-Unis et au Canada
- 125 349 $US
- 4 oct. 1987
- Montant brut mondial
- 406 881 $US
- Durée1 heure 32 minutes
- Couleur
- Mixage
- Rapport de forme
- 1.85 : 1
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By what name was Slam Dance (1987) officially released in India in English?
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