...and the name of the game is Mickey!
A former comic is on the run from the mob.
A former comic is on the run from the mob.
I almost feel like this was a waste of time. Not on my part, exactly, but on the filmmaker's. It's so heavily indebted to Godard and other French New Wavers that it feels like Penn has made a pastiche, or worse, a cheap copy. The clever tricks it revels in have all been done before, even this early in the game. And it does not help matters that our leading man is rather unlikable in this one, almost a cipher if not for his smarm and swagger.
And yet it still feels like it was saying something. The nameless crimes Mickey seems to have committed allow the character to be a stand-in for fears and insecurities in general, and the…
arthur penn's take on french new wave filmmaking by way of fellini and it's kind of great?? i'm surprised this is so under-seen because it's a really apparent time capsule of how european art films directly influenced hollywood directors in the early/mid 60s. also features frequent kurosawa collaborator kamatari fujiwara as this angel figure referred to as "the artist," and it's shot by ghislain cloquet who worked with demy, bresson, and resnais (and! it! shows!!!). a very cool gem of a film.
there's a bit where a guy bangs on warren beatty's door and screams "I WANT YOU!!!" and i felt very seen
Warren Beatty wants to be Lenny Bruce but he’s Joey Bishop.
I L<3ve Musicals! - why? without the music this would be nothing near as good
I'm nudging this one up half a star on my rewatch.
Arthur Penn's arty film apes the work of the French New Age, but adds the charm of young blade Warren Beatty in a role where he is almost the Warren we are used to, but he's also just a bit unkempt, a bit uncertain, a bit off.
I doubt Hollywood was ready for this kind of stuff, expecting instead a run of the mill "man and the mob" thriller, and that was why it failed so comprehensively at the box office. The script by Alan Surgal is heavily influenced by the Beat Generation of…
As he talks to his girlfriend at some point, Mickey (Warren Beatty) says something along the lines of, “On the stage you’re the one they want...the one they clap for.” That is paraphrasing as I do not recall words, but it feels especially key to unlocking this nightmare-like descent into chaos. Sent running from his life in Detroit, a comedian goes to Chicago after finding out the mob wants him dead. For what, he has no idea but he knows whatever it is he probably did it anyways so it hardly matters. Now, he assumes the identity of another man - with an unpronounceable name for Americans so it gets shortened to “Mickey One”…
"I'm the king of silent movies. I'm just waiting it out until the talkies blow over."
'I'm the king of silent pictures; I'm hiding out 'til Talkies blow over..' (Warren Beatty as Mickey One)
So imagine being a Columbia executive sitting down to watch a preview of Arthur Penn's new movie after you've entrusted him with a million dollars to shoot whatever the hell he pleases off the back of his success with the Helen Keller biopic The Miracle Worker: with a ludicrously handsome, hot young star in the leading role (Beatty) and a director whose last film earned five Oscar nominations (including one for Best Director), I would imagine you would be sitting comfortably in your seat, confident that you were about to watch an artistic triumph and a potential money spinner for the studio.....…
Like the lads making the French New Wave films, Arthur Penn understands that jump-cutting, surrealist formal invention is best done with good looking leads.
Warren Beatty, 28 years old, with great hair, stars as Mickey One a comic on the run from the Mob, who Penn uses to centre his freewheeling narrative and philosophical discussions around. While, he surrounds Beatty with a number of beautiful women, from Donna Michelle (in opening of the film) to Alexandra Stewart.
The film may be slightly empty, tough it does a nice line in knock-off Kafka, but it looks great, canted angles, Michelle's cleavage, Beatty's hair. Penn is an interesting director who would go on to do a lot better, but Mickey One is an interesting film, when American filmmakers looked abroad for inspiration.
Plus, Stan Getz's soundtrack is boss. But then everything Stan Getz's touched was amazing.
Some Like it Godard.
Mickey One is interesting rather than actually good, with a flurry of nouvelle vague tics where its heart and story should be.
Warren Beatty plays a(n unfunny) stand-up possibly fleeing from mobsters, with echoes of The Trial. A good score and a pretty great final scene help, but it’s mostly incredibly self-indulgent, wasting one of the coolest casts ever assembled. In support are not only Jeff Corey (seen to best effect as the hip-as-fuck psycho in The Outriders) and Hurd Hatfield (who had been MGM’s Dorian Gray), but also the sad-and-wise-era Franchot Tone, and the proto-Pesci, Teddy Hart.
Hart – the brother of lyricist Lorenz, and an incredible comic actor – barely did any films, but stole Three Men on…
Wow. This was boring. Sad that I’ve given my first low score on here, it had to happen sometime I suppose
Mickey One estreava há 55 anos no London Film Festival.
Eu estava realmente empolgada com a pegada desse filme na primeira metade, sentindo uma vibe meio Cassavetes mais do que Nouvelle Vague, mas por algum motivo fui perdendo o interesse na metade final, embora toda a alegoria do artista sendo encurralado pelo inimigo invisível do macarthismo sempre a um passo de ser esmagado seja bem potente, pois mesmo já havendo um distanciamento histórico da caça às bruxas da HUAC, ainda era anos 60 no auge da Guerra Fria.
Box Versátil A Arte de Arthur Penn.
I'm in Chicago so I'm gonna watch a Chicago fucking movie.
"...If you look at his filmography he's been in more interesting movies than some of the so-called important actors"
Vincent Gallo sobre Warren Beatty
Arthur Penn's STAGE FRIGHT
American New Wave experiment from Penn & Beatty was hard to see for decades; fascinating dry run for their more crowd-pleasing ostentatiousness of Bonnie & Clyde.
so nice to see warren beatty in his sexy era in this one instead of his racism era!! ❤️
the opening montage of this movie is how joe biden remembers life w his first wife
I like movies because I like stories, which means that I'm not a big fan of New Wave. When it comes to artsy-fartsy, it's mostly farts for me.
So, do I get this movie or am I a dummy? I'm not quite sure what it's trying to accomplish with the Artist character and the last moment shift from stage to waterfront seems meaningless, but the rest is intriguing. We never quite know what he's afraid of or why, so it's some sort of existential dread? Maybe I am too dumb to understand.
While I may not love the movie, it's worth a watch. The entire movie is beautiful and Beatty has a few moments in which his acting is naturalistic. The very best part is the open sequence that plays over credits, particularly the initial scene in a sauna.
Homespun Nouvelle Vague, and easy to see where Penn sharpened his skills for BONNIE AND CLYDE. After wisely hewing close to THE MIRACLE WORKER’s stage origins, here he’s really cut loose, bringing modernism stateside after friendly meetings with the Cahiers crowd. It seems a low enough budget enabled him to take that crucial step away from the withering studio system and its mechanized aesthetics. Warren Beatty, as key collaborator, announces himself as New Wave disciple to James Dean’s implosive intensity, not to mention a commendable US answer to Belmondo. Beatty’s charisma, the charisma of style, it all creates an antic energy needed for Penn’s run along the margins, and if the film doesn’t quite stack up against its French influences, you get the sense that, refreshingly, it’s not really trying to in the first place.
GOD DAMN this became boring fast!
194: Warren Beatty stars as a nightclub comic who goes on the lam thinking the mob is after him for gambling debts, though it may be paranoia. Director Penn and Beatty will strike gold in ‘67 with BONNIE & CLYDE which in hindsight makes this one rather intriguing. It’s arthouse in presentation which is a bit at odds with the plot making it more confusing to follow than it should be but it makes up for it by being visually interesting and Beatty uses it as an opportunity to really stretch performance wise. It makes for an interesting if flawed film experience.
The master of deep blacks, Ghislain Cloquet.
I do not like this film.
It is pretentious and shallow and gives me no reason to engage with it’s skeleton of a plot.
None of the individual scenes are in any way fun or interesting enough to hold your attention for even the duration of one conversation, and this film has a whole lot of clunky, exposition laden conversations that somehow fail both at providing context for the story and driving the narrative forward.
Even when Otherworld (2018) is at its most incomprehensible, it flows from scene to scene in an engaging and understandable manner.
Twenty minutes in I was checking to see how long was left in this heap of shit. What a waste of my time.
And it’s one thing to have a vague, obscure plot, but to cap it with a complete ambiguous non-ending? Fuck you.
This really feels like when you were a kid and you would trace a drawing from an artist you liked and then proudly showed the tracing off as your own work.
Maxvayne 1,234 films
Cinema is strange.