अपनी भाषा में प्लॉट जोड़ेंA suicidally disillusioned liberal politician puts a contract out on himself and takes the opportunity to be bluntly honest with his voters by affecting the rhythms and speech of hip-hop mus... सभी पढ़ेंA suicidally disillusioned liberal politician puts a contract out on himself and takes the opportunity to be bluntly honest with his voters by affecting the rhythms and speech of hip-hop music and culture.A suicidally disillusioned liberal politician puts a contract out on himself and takes the opportunity to be bluntly honest with his voters by affecting the rhythms and speech of hip-hop music and culture.
- 1 ऑस्कर के लिए नामांकित
- 1 जीत और कुल 20 नामांकन
- Leroy
- (as Ernie Banks)
फ़ीचर्ड समीक्षाएं
Since it would be way too preachy if that's all there was to the story, there's some other aspects that make for an entertaining viewing. Bulworth, in his depression and anxiety, hired a hit-man to "off" him so his family could collect the life insurance. Once his speeches and raps become a success, this is obviously a big problem since he wants to live again ("You should never make life and death situations when feeling suicidal"). There is a love interest with a girl named Nina, played by the lovely Halle Berry. You don't know if you can trust her, and her intentions are unclear.
There is also a fine supporting role by Don Cheadle, who plays a "business man" who uses young children to sell drugs. His character does bring up some valid points, and we're forced to really put ourselves in his shoes. He's doing what he feels is right, but ultimately, the ends don't justify his means.
With a movie that has so much going on, it would probably be difficult for the filmmakers to figure out a way to wrap everything up, right? Unfortunately, yes. Bulworth ends pretty abruptly and leaves with the film's message being half-assedly shouted at the screen. The last act is a huge flaw in an otherwise perfect movie.
Bulworth is a hilarious comedy and it heralds something truly special and unique. It is not a film to be taken for granted or forgotten. It's a quintessential example of a 'contemporary classic' for our generation. I have no doubt that over the next decade or so, people will want to revisit it and examine the politics and the cultures; it should be studied in classrooms, it should be valued. I loved Bulworth!
My rating: 9/10
Apparently nobody listened.
Beneath the sometimes dark comedy, Bulworth has a lot of insightful and painful comments to may about our often hypocritical and ineffectual government. These observations are made satirically, but effectively. This is not a heavy-handed work. One thing that hampered Bulworth at the box-office was its portrayal of the man in the black community. People didn't get it. They were offended, especially many liberal white people. Beatty was in no way making fun of African-Americans by showing a very streetwise group. His point, which I thought was fairly obvious, was that many people will behave in an antisocial way in a society that is largely indifferent and often hostile towards them. I think that's almost a no-brainer. Bulworth is that rare politician who has soul. I agree that Warren Beaty's rapping was sub par, but who cares? "Bulworth" makes a powerful statement that in order to transcend problems of crime, poverty, racism, and political corruption we are going to have to take a cold hard look at who we really are and what is really happening around us. Accepting other people particularly from different racial and economic backgrounds has to be more than just an insincere speech act. It must be an act of good will that is grounded in practical reality.
Overall rating: 8 out of 10.
This starts a voyage of discovery for Beatty. Of course at this point Beatty is also running from the hit man. His new honesty unleashes a desire to live. They arrive at a Black hip-hop club where Beatty drinks, smokes pot, and is transformed by the loud urban rap music. The dance scene with Beatty and Berry is remarkable.
Next stop is a speech at a fancy Hollywood hotel filled with film executives. Beatty makes many comments of how Jews run Hollywood, becomes rich, but turn out a crappy product. Next comes a debate with his political opponent, and finally an interview. The new Beatty parrots back much of what he has heard from poor Blacks but of course he has always known the truth. His sense of freedom from the back-room politics of Washington is exhilarating and his new voice reaches the masses of disenfranchised voters. His comments about the media and how it is controlled by corporate America is more apt now (during the Bush administration) than ever before.
Beatty is brilliant, and this ranks as one of his very best performances. Berry is actually good as well in her pre-movie star mode when she still bothered to act. Oliver Platt scores as the political aide. Paul Sorvino is a lobbyist for the insurance industry.
Jack Warden, Helen Martin, Don Cheadle, Christine Baranski, Florence Stanley, Laurie Metcalf, Sean Astin, Isaiah Washington, Nora Dunn, Joshua Malina, William Baldwin, Hart Bochner, Armelia McQueen, and Jackie Gayle co-star.
Filled with humor, political insights, and top-notch performances. This acid look at politics in Amerca is more timely now than ever. Bravo to Warren Beatty!
क्या आपको पता है
- ट्रिवियाAaron Sorkin and James Toback did a great deal of uncredited work on the script.
- गूफ़Bulworth tells the assassin that he will be traveling to Los Angeles via American Airlines, yet the arrival airplane footage shown is clearly a Southwest Airline plane.
- भाव
Sen. Jay Billington Bulworth: Obscenity? The rich is getting richer and richer and richer while the middle class is getting more poor/ Making billions and billions and billions of bucks/ well my friend if you weren't already rich at the start well that situation just sucks/cause the riches mother fucker in five of us is getting ninety fuckin eight percent of it/ and every other motherfucker in the world is left to wonder where the fuck we went with it/ Obscenity?/ I'm a Senator/ I gotta raise $10,000 a day every day I'm in Washington/ I ain't getting it in South Central/ I'm gettin it in Beverly Hills/ So I'm votin from them in the Senate the way they want me too/ and-and-and I'm sending them my bills/ But we got babies in South Central dying as young as they do in Peru/ We got public schools that are nightmares/ We got a Congress that ain't got a clue/We got kids with submachine guns/ We got militias throwing bombs/ We got Bill just gettin all weepy/ We got Newt blaming teenage moms/We got factories closing down/ Where the hell did all the good jobs go? Well, I'll tell you where they went/My contributors make more profits makin, makin, makin, Hirin' kids in Mexico/ Oh a brother can work in fast food/ If he can't invent computer games/ But what we used to call America/ That's going down the drains/How's a young man gonna meet his financial responsibilities workin and motherfuckin Burger King? He ain't! And please don't even start with that school shit/ There aint no education going on up in that motherfucker/ Obscenity? We got a million brothers in prison/ I mean, the walls are really rockin/But you can bet your ass they'd all be out/If they could pay for Johnny Cochran/ The constitution is supposed to give them an equal chance/ Well, that ain't gonna happen for sure/ Ain't it time to take a little from the rich motherfucker and give a little to the poor? I mean, those boys over there on the monitor/ they want a government smaller and weak/ but the be speakin for the riches 20 percent when they pretend they're defendin the meek/ Now, shit, fuck, cocksuker, that's the real obscenity/ Black folks livin with every day/ Trying to believe a mothefuckin word Democrats and Republicans say/ Obscenity? I'm Jay Billington Bulworth And I've come to say/ The Democratic party's got some shit to pay/ It's gonna pay it in the ghetto/ It's gonna pay it in the...
[talks a little]
Sen. Jay Billington Bulworth: You know the guy in the booth who's talking to you in that tiny little earphone? He's afraid the guys at network are gonna tell him that he's through/ If he lets a guy keep talking like I'm talking to you/ Cause the corporations got the networks and they get to say who gets to talk about the country and who's crazy today/ I would cut to a commercial if you still want this job/ Because you may not be back tomorrow with this cooperate mob/Cut to commercial, cut to commercial, cut to commercial. Ok ok I got a simple question that I'd like to ask of this network/ That pays you for performing this task/ How come they got the airwaves? They're the peoples aren't they? Wouldn't they be worth 70 billion to the public today? If some money-grubbin Congress didn't give them away for big campaign money? It's hopeless you see/ If you're runnin for office with out no TV/If you don't get big money/ You get a defeat/ Corporations and broadcasters make you dead meat/ You been taught in this country there's speech that is free/ But free don't get you no spots on TV/If you want to have senators not on the take/ Then give them free air time/ They won't have to fake/ Telecommunications is the name of the beast/that, that, that, that, that's eating up the world from the west to the east/ The movies, the tabloids, TV and magazines/ they tell us what to think and do/ And all our hopes and dreams/ All this information makes America phat/ But if the company's outta the country/ How American is that? But we got Americans with families that can't even buy a meal/ Ask a brother who's been downsized if he's getting any deal/ Or a white boy bustin ass til they put him in his grave/ He ain't gotta be a black boy to be livin like a slave/ Rich people have always stayed on top by dividing white people from colored people/ but white people got more in common with colored people then they do with rich people/ we just gotta eliminate them. White people, black people, brown people, yellow people, get rid of 'em all/ All we need is a voluntary, free spirited, open-ended program of procreative racial deconstruction/ Everybody just gotta keep fuckin' everybody til they're all the same color
- क्रेज़ी क्रेडिटFor the song "Bulworth Breakdown," the title character Jay Bulworth is credited as a writer and performer.
- साउंडट्रैकSemper Fidelis
Composed by John Philip Sousa
Performed by The Band of the Grenadier Guards
Conducted by Major Rodney Bashford
Courtesy of The Decca Record Company Limited/London Records
By Arrangement with PolyGram Film & TV Music
टॉप पसंद
- How long is Bulworth?Alexa द्वारा संचालित
विवरण
- रिलीज़ की तारीख़
- कंट्री ऑफ़ ओरिजिन
- भाषा
- इस रूप में भी जाना जाता है
- Tribulations
- फ़िल्माने की जगहें
- उत्पादन कंपनी
- IMDbPro पर और कंपनी क्रेडिट देखें
बॉक्स ऑफ़िस
- बजट
- $3,00,00,000(अनुमानित)
- US और कनाडा में सकल
- $2,65,28,185
- US और कनाडा में पहले सप्ताह में कुल कमाई
- $1,41,816
- 17 मई 1998
- दुनिया भर में सकल
- $2,92,02,884
- चलने की अवधि1 घंटा 48 मिनट
- ध्वनि मिश्रण
- पक्ष अनुपात
- 1.85 : 1
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