alec-10

It's ironically indicative of this movie's theme and the relationship between American culture AND this film that the vast majority of IMDb raters have given this a 6 or 7 (out of 10). Most Americans that actually watch this film will be confused by it. Very strange, maybe, in that it is a truly American movie: American cast, American production, American themes, American sets, American problems, American answers. But, tell me--how do you rate yourself when you look back at that nude in the full length mirror right after you get out of the shower? If you're feeling generous (and you're only rating for yourself), you might get a 6 or a 7, right? Rafelson's early (funnier...haha, couldn't resist that), more critically successful Nicholson vehicle, FIVE EASY PIECES, has some really GREAT moments (like the toast-ordering scene), but ultimately, the pacing is off. There's just not enough there, there. Not so with King of MV. WOW, this is one helluva emotional roller coaster. The much, much underrated and underutilized Bruce Dern gives one of his best two or three performances as Nicholson's manic (American through and through) salesman brother. This riffs on Arthur Miller and all the best dramatic pitchmen roles from the 1st half of the 20th Century. Ellen Burstyn is spot on, as is the other female interest. But the real focus is on the guys. (And just a word about the late, great Scatman Crothers--so so excellent and iconic in this.) And now we get to Jack... ...I think this is arguably his best performance. It is one of the very very few where his eyebrows were nailed down, anyway. His character is so weary, so defeated, so human, you're tempted to think he's a Russian or a Jew or maybe even a Russian Jew. But no, he is a through and through Willie Loman American. And one we so rarely see on the stage or screen--though we all know/have known them. They are that vast minority of reasonable, intelligent, sensitive, fairly strong and honest and wise individuals who just can't take it or who just don't think it's worth the trouble having seen too many people taken advantage of or getting their teeth knocked out. They are sick of what they've seen; they are sick of not being able to toe the mark--even though they know that those expectations are unreasonable. Rare stuff, indeed.

BTW, this is NOT a happy movie--fair warning.

Bless you, Bob Rafelson--a brilliant, brilliant film that should rest on the shelf next to Renoir and the very best of the 50's British Angry Young Men cinema.

This film rings through all the changes of the human instrument--from belly laugh humor to horror of the most visceral sort (both physical AND psychological) to touching selfless love to the sorrows felt and perpetrated by the immature and psychotic.

I'm going to give a synopsis here--if you want that, plenty of other folk have said more than they should about the plot and the characters--but I do urge EVERYONE to see this movie. It is--like the best of all art--timeless. You WILL NOT BE BORED! (Unless you're a brainless twit that only responds to the most superficial stimuli.) This flick DEFINES great storytelling and great film-making. No compromises.

P.S. Notice that the young Fellini is not only one of the writers, but is also the uncredited 2nd Unit director.

Why is this film not in IMDb's top 250 (or top 100, for that matter)? Well, that's pretty simple to understand, isn't it? For the same reason that turkeys like the last Star Wars movies and Pirates 3 ARE in the top 250. The IMDb ranking is quite democratic; it measures the opinions of those who are on the net--now. Oh well.

Art Carney was a quiet, quirky genius and this film is a lasting testament to his talent.

It's a story about how an -average- man (actually not average at all, as we come to find out) lives a life of dignity and confronts the chaos of modern existence--including that most devastating of inevitabilities, mortality and, particularly, old age .

Besides Carney, watch for superb ensemble acting from Ellen Burstyn, Larry Hagman, the inimitable Chief Dan George, Arthur Hunnicutt, and a host of great character actors from the 70's.

Unlike so many contemporary scripts from the late 60's and early 70's, the cultural references seem interesting and historical and not dated, probably because--like everything else in this film--they are treated with respect and a sense of mercy.

If this film had been made by a French director in 1974, it would be heralded as a major classic. Oh, well.

Watch it. Savor it. This is really something special.