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IMDbPro

Tudo por Dinheiro

Título original: Eating Raoul
  • 1982
  • R
  • 1 h 30 min
AVALIAÇÃO DA IMDb
6,8/10
9,7 mil
SUA AVALIAÇÃO
Tudo por Dinheiro (1982)
Buddy ComedyComédia de humor negroComédia peculiarFarsaComédiaCrime

Adicionar um enredo no seu idiomaA relatively boring Los Angeles couple discovers a bizarre, if not murderous, way to get funding for opening a restaurant.A relatively boring Los Angeles couple discovers a bizarre, if not murderous, way to get funding for opening a restaurant.A relatively boring Los Angeles couple discovers a bizarre, if not murderous, way to get funding for opening a restaurant.

  • Direção
    • Paul Bartel
  • Roteiristas
    • Paul Bartel
    • Richard Blackburn
  • Artistas
    • Mary Woronov
    • Paul Bartel
    • Robert Beltran
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    6,8/10
    9,7 mil
    SUA AVALIAÇÃO
    • Direção
      • Paul Bartel
    • Roteiristas
      • Paul Bartel
      • Richard Blackburn
    • Artistas
      • Mary Woronov
      • Paul Bartel
      • Robert Beltran
    • 89Avaliações de usuários
    • 68Avaliações da crítica
    • 69Metascore
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
    • Prêmios
      • 2 indicações no total

    Vídeos1

    Eating Raoul
    Trailer 1:36
    Eating Raoul

    Fotos82

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    + 75
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    Elenco principal37

    Editar
    Mary Woronov
    Mary Woronov
    • Mary Bland
    Paul Bartel
    Paul Bartel
    • Paul Bland
    Robert Beltran
    Robert Beltran
    • Raoul Mendoza
    Susan Saiger
    Susan Saiger
    • Doris the Dominatrix…
    Lynn Hobart
    • Lady Customer
    Richard Paul
    Richard Paul
    • Mr. Cray - Liquor Store Owner
    Mark Woods
    • Hold-up Man
    John Shearin
    John Shearin
    • Mr. Baker - the Horny Patient
    Darcy Pulliam
    • Nurse Sheila
    Ben Haller
    • Dewey
    Roberta Spero
    • Swinger
    Vernon Demetrius
    • Swinger
    Arlene Harris
    • Swinger
    Buster Wilson
    • Swinger
    Marta Fergusson
    • Swinger
    Garry Goodrow
    • Drunk Swinger
    Richard Blackburn
    • James from the Valley
    Hamilton Camp
    Hamilton Camp
    • John Peck - Dishonest Wine Buyer
    • Direção
      • Paul Bartel
    • Roteiristas
      • Paul Bartel
      • Richard Blackburn
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários89

    6,89.6K
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    Avaliações em destaque

    MovieMan-112

    Eating Raoul - * * * *

    One of the greatest comedies ever made (right up there with National Lampoon's Vacation, Caddyshack, Dumb and Dumber, and Clerks) that really makes a strong statement about swingers, s&m, rape, murder, and cannibalism without becoming tasteless. This is Bartel's greatest accomplishment. A major cult hit and deservingly so.

    * * * *
    7preppy-3

    Low-key and badly dated black comedy

    Paul and Mary Bland (Paul Bartel and Mary Woronov) are a VERY goody-goody down to earth couple who want to open a restaurant but they can't get the money. One night Paul kills a man who attacks Mary. They find out he has lots of money. So they decide to put up a sexual ad, lure men into their apartment, kill them and take their money. Then hot hunky Raoul (Robert Beltran) finds out and demands a cut.

    I caught this back in 1982 at a theatre. Back then it was a VERY dark and funny comedy. A big hit too. Now, 30 years later, it's still funny but not even remotely as outrageous as it used to be. We've gone beyond this movie in terms of black comedy. Also I found it sometimes too low-key. Still it was enjoyable. Bartel and Woronov are both great in their roles. They were friends in real life and their affection for each other comes through. Also they are hysterical in their roles. Beltran is pretty good too. He's not as good as comedy as Bartel and Woronov but he's young, handsome and hunky and that's what the role calls for. Also Susan Saiger is great in her small role as Doris the dominatrix. This movie is not explicit--the murders are all off screen and there's no blood or gore. So it's funny but not that black anymore. I give it a 7.
    9YAS

    A heartwarmingly black comedy full of murders

    This movie keeps ending up on my top ten list, no matter how many others come and go with the years. Director Paul Bartel began with a ridiculous premise, and then had everyone play it perfectly straight, which resulted in a comedy that doesn't telegraph its laughs. It's evident that the film was lovingly polished (again) in postproduction, down to the level of tiny incidental sound effects that add immeasurably to the hilarity if you happen to catch them. The story is full of murders, but there's no gore 'n guts here; it's all as discreet as an Agatha Christie novel, where Death is tastefully signaled by a thud from another room. EATING RAOUL is an excellent introduction to the topics of Los Angeles, food, swingers, and real estate loans, and resist as you may, you'll end up cheering for Paul and Mary as they work toward their dream of opening their very own restaurant.
    7alice liddell

    Irony this PURE...

    With filmmakers so cynical and despairing today about America, it's refreshing to see a film with so much faith in the American dream. This is a classic tale of rags to riches, of a respectable married couple, down on their financial luck, who, with initiative and a novel idea, manage to fulfil their dream, a hotel in the country. If, to get there, they must pose as bondage merchants, murder their clients, rob their wallets, give the bodies to a petty thief who sells them to dog-food companies as choice meat, than such is the nature of success.

    RAOUL declares itself as a true story from the Sodom and Gomorrhah of Hollywood, where fantastic wealth co-exists with degrading poverty. The film is a moral tale, about steering the middle-course, about what it takes to be normal and decent. It plays like straight John Waters, but just as hysterical, even if, eventually, it cannot sustain itself.

    The featured couple are called, appropriately, the Blands, and it is significant that their serial-killing weopon is a lethal frying-pan. Paul, played by the director, is the epitome of his name: balding, pedanctic, so obsessed with fine wines that he gets fired from his low-rent off-licence for over-ambition. His wife, Mary, is less bland, which is why she is more easily tempted by the dark side. While Paul remains sweetly virginal, she, a hospital nutritionist, works in an evnironment where she is continually harrassed by lecherous lotharios, and is knowledgeable enough to know that the most humiliating revenge is to have them receive their enema from a burly dandy.

    Bartel is a Roger Corman alumnus, and this can be seen in the fluid, economical filming, the functional set-ups that are actually quite complex. The film's very classical structure is at odds with (piecemeal) filming that has characters seem, ineptly, to wander up to the camera, although this has the unsettling effect of making the creepy nonsense seem curiously real.

    There is also a hint of suppressed Gothic in the telling - Mary's hysterical normality is so camp she could be Vampira - while the Blands' blandness is under attack from all sides. It's bad enough to have 'swingers' (a charmingly 50s word for perverts that chimes with the Blands' adorably tasteless 50s furniture left them by Mary's mother until she dies) crowding the tenement for sleazy, Warholian, sado-masochistic parties, but to have one of them storm into your apartment, throw up all over your carpet, nearly die in your lavatory, bring your husband to the party to be humiliated/initiated by Doris the Dominatrix, and then come back to violate your wife, is an imposition.

    The film makes satirical points enough - the rich and professional classes are all vile, violent sleazes, while the S&M 'sickos' are sweet, loving mothers who live in pleasant suburban avenues so indifferent to capitalist Darwinism that they help out the competition. The racism needed to keep normality normal is shown in the horrifyingly hilarious shooting of a store-robber, or in the final fate of self-confessed 'Chicano' Raoul, which suggest Peter Greenaway might be a fan of the film. The cannibalism theme has a long satirical history in jibes on the bourgeoisie, and it's no surprise to learn that Bartel is a devotee of Bunuel.

    But the film's real satire is to show how normality must survive in a society, Hollywood, that has obliterated any recognised sense of reality.
    Infofreak

    Still one of the most entertaining black comedies ever made.

    The late Paul Bartel made several interesting and overlooked cult movies in his sadly too short career, including his exploitation classic collaboration with the legendary Roger Corman 'Death Race 2000', but of all his movies he will be remembered for this one, 'Eating Raoul', a minor masterpiece. Shot on a shoe string budget as a real labor of love it is still one of the most entertaining black comedies ever made. Bartel himself co-stars with the tasty Mary Woronov (Warhol's 'Chelsea Girls'), who he had previously acted with in the wonderful romp 'Rock'n'Roll High School' among other things. They show lots of on screen chemistry and make a delightful team, something they obviously realized themselves as they went on to work together several times after this. However they were never better together than in this movie as the uptight but sweet Blands. The Blands have ambitions to open up their own restaurant but have limited means at their disposal. By accident they stumble across a way to get the cash they need using swingers whom they detest. All goes to plan until they encounter the shady locksmith Raoul (Robert Beltran, best known now to Trekkers worldwide). Things then start to get a little more complicated. The three actors seem to love working together and this gives the movie an added zest. The script in witty and unpredictable, and there are some funny bits from the supporting cast, especially Pee-wee Herman sidekick John Paragon as a pushy sex store clerk, and Ed Begley, Jr ('Meet The Applegates') as a horny hippie. This is a wonderful movie, a real comedy gem, that I highly recommend. Paul Bartel R.I.P.

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    Enredo

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    Você sabia?

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    • Curiosidades
      The budget was so low that they could not afford to mock-up an ad printed in a fake newspaper for the Blands' swingers advertisement so production designer Robert Schulenberg instead designed an ad and ran it in the "L.A. Weekly," an alternative newspaper. Unlike the vast number of replies the Blands got in the movie, the real ad attracted only one response.
    • Erros de gravação
      (at around 1h 15 mins) When Paul throws the bug zapper, it hits the camera, causing the camera to shake up and down and go out of focus.
    • Citações

      Mary: At the store, can you buy a new frying pan? I'm a little squeamish about using the one we use to kill people.

    • Cenas durante ou pós-créditos
      There is a credit for "Guest Electrician"
    • Conexões
      Featured in Precious Images (1986)
    • Trilhas sonoras
      Exactly Like You
      Music by Jimmy McHugh

      Lyrics by Dorothy Fields

      Published by Shapiro, Bernstein, and Co., Inc.

      Performed by Jonathan Beres

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    Perguntas frequentes16

    • How long is Eating Raoul?Fornecido pela Alexa

    Detalhes

    Editar
    • Data de lançamento
      • 1 de outubro de 1982 (Estados Unidos da América)
    • País de origem
      • Estados Unidos da América
    • Idiomas
      • Inglês
      • Espanhol
    • Também conhecido como
      • Eating Raoul
    • Locações de filme
      • 1600 Argyle Avenue, Hollywood, Los Angeles, Califórnia, EUA(Paul passes the Cathay de Grande nightclub while on top of the van)
    • Empresas de produção
      • Bartel
      • Films Incorporated
      • Quartet
    • Consulte mais créditos da empresa na IMDbPro

    Bilheteria

    Editar
    • Orçamento
      • US$ 350.000 (estimativa)
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      • 1 h 30 min(90 min)
    • Mixagem de som
      • Mono
    • Proporção
      • 1.85 : 1

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