Gil Renard is a salesman in the knife business and is also completely obsessed with the game of baseball. Because he is from San Francisco he is a fan of the Giants, by the beginning of the season the Giants have signed all-star center-fielder Bobby Rayburn to a 40 Million dollar contract. But, things do not go well for both Gil and Rayburn. Rayburn is slumping and Gil loses his job and eventually his wife and son. However after Gil loses his job and his family, he goes deeper into his obsession with Rayburn and takes matters into his own hands. He believes that Rayburn is slumping because of another Giants player named Juan Primo who is playing well. SO Gil secretly helps him out. But when Gil feels that Rayburn is ungrateful, Gil kidnaps his son, Sean. Now, Rayburn must perform at his best at the last game of the season in order to save his son.
While still a teenager, producer and director Tony Scott made his first foray into film with an appearance in his big brother Ridley_Scott’s first short film, Boy and Bicycle. He later attended London’s Royal College of Art, as did his brother, and proceeded to get his feet wet behind the camera, at first by directing TV commercials for his brother’s production company Ridley Scott Associates. He became a leader in the British commercial industry, directing countless ads and building up an impressive resumé over the years. By the early ‘80s, Tony Scott was ready to begin directing films, and for his first project, he agreed to tackle MGM’s artful vampire pic The_Hunger, starring David_Bowie and Catherine_Deneuve. The movie was released in 1983 to a disappointing silence at the box office, and for the next few years Scott returned to commercials as he waited for his next opportunity to come along. That project came in the form of an offer from producer Jerry_Bruckheimer to direct a fun… read more
If the story were as grounded and nuanced as the performances, The Fan would have been a triumph. But it's Tony Scott, what're ya gonna do?
Certainly hard to watch for the unlikability of DeNiro's Renard, who is a model image of the end result of the devolution of the paternal, masculine ideal in postmodern America.