O Último Magnata

This portrait of F. Scott Fitzgerald's last days--as a wreck, battling alcoholism and trying to write "The Last Tycoon" with considerable help from his much younger new secretary--has some digressive scenes in the middle but is primarily intelligent and involving. Jeremy Irons is excellent (though at times his Yank accent can be a bit overdone) as the past-prime author, but the surprise is that Neve Campbell (whom I haven't very often been all that impressed before) does an excellent job as the secretary seduced into this sickly, washed-up but still highly intelligent and sometimes very charming man's spell. Sissy Spacek is effective enough as Zelda Fitzgerald, although her occasional appearances as a taunting/nagging phantom of sorts are a screen writing device that doesn't totally come off. It's a fine perspective on Fitzgerald that doesn't cast him as some kind of saintly victim but gives full weight to his talent and personal weaknesses.

In "Last Call", Jeremy Irons is, in short, F. Scott Fitzgerald himself. Very much like Phillip Seymour Hoffman in "Capote", Irons has captured every mannerism and the speech of the controversial writer.

A level of "classiness" is attained, often on accord of the dynamic chemistry between Irons and Campbell, who in my opinion surprised Hollywood with this great performance in an extended supporting role. Sissy Spacek was also impressive, despite her only being in the film for about twenty minutes, her appearances are very memorable, and she is absolutely magnificent.

Other than the acting by Irons, Campbell and Spacek, there's really nothing that jumps out about this film. However it is an interesting look into the life of the influential and controversial writer F. Scott Fitzgerald. 6/10

Irons breathes life into F. Scott Fitzgerald in this superb accounting of the last months of the renown writer's life during the tenure of his youthful secretary, confidant, and protege Frances Kroll (Campbell) who later penned a memoir of their time together. An excellent story of unrequited love and a good watch for those into the work of either Fitzgerald, Irons, or Campbell with some interesting didactics for novice writers.

Biopics didn't get the kind of recognition and acclaim they deserved back then. Not like Eddie Redmayne's portrayal of the famous physicist in "The Theory of Everything."

Perhaps that's the reason this film has gotten such an unfair average rating of 6.5. Cause, this film clearly deserves much higher recognition, and that's coming from a movie buff who is quite stingy when it comes to giving high marks.

This period quasi-biopic film entertained, educated, touched with a top notch cast. Jeremy Irons embodied the character playing the tormented soul of perhaps the greatest American novelist FSF in his role. But, then again, no one would expect any less from a superb actor of his caliber.

It's Neve's acting that captivated me so very much. Her ability to immerse herself in the character of an impressionable 23 yo in the presence of an acclaimed, giant of a writer in such close quarters was uncanny. Those vulnerable scenes with FSF (eg, in the car, outside the door, in evening out dancing); her expressions of restraint desire, dissonance and struggle to maintain a professional boundary were sublime.

Neve's acting shone just as brightly as did Jeremy's. She counter balanced FSF's (JI) torment soul so superbly on display with a sublime portrayal of Francoise' own agony of falling for a man she spends every day with knowing she can never love; one who has already lived so much of his life by the age of 44, haunted by demons and memories, while her life is just getting started.

The dialogues, editing, set-design and period costumes and no-bells-and-whisltes cinematography were also on par with the gravity of the story line, which is a based on a true story. I don't understand what do viewers want.

Does Jeremy Irons ever give less? This is currently being shown on the British Movies24 channel. Jeremy Irons gives a perfectly judged performance, perfect for every expression, spoken word or even glance. He had though good material to work with - its basis in the recollections of one of the films main protagonists, his secretary, Frances Kroll, who herself was a would-be writer. The direction too seemed to perfectly follow the mood - even Frances' unspoken thoughts especially expectations. The only thing to jar was that at these moments of unspoken thoughts, a song would be played in the background spelling out exactly these unspoken thoughts.

Neve Campbell was excellent as Frances - in her playing perhaps her attitude was a little wrong - he the great writer, she rather mousy unknown secretary would have been perhaps a bit more reverential. But it may be Frances Kroll's writing which reveals the true nature of their relationship, that moment nearly at the end when he stops, turns to her and she (and the audience) could imagine an offer of marriage yet he "merely" wants to say something about writing. Overall it is a rich and revealing biography from someone who was both closely involved as well as being a good and honest writer. Perhaps this is why Jeremy Irons gave it his best shot.