When aspiring comic Rupert Pupkin meets his talk show host idol, he sees it as the perfect opportunity for him to reach his dream of stardom. But when he gets rebuffed, Pupkin kidnaps his idol to make sure he gets what he wants.
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"MOM!" Ironically, this is probably Marty's most disturbing film. Remember that uncomfortable scene in "Taxi Driver" where Bickle flies into an embarrassing tirade at the campaign office? Stretch that out over an entire film, and you've got "The King of Comedy," for better and for worse. Jet-black humor offers some levity, but this is a painful, cringe-inducing study of celebrity worship and loneliness.
"Better to be king for a night than schmuck for a lifetime." What a sad movie: Jerry Lewis watching Fuller's "Pickup on South Street" materialises Scorcese's view of the death of cinema by television. Scorcese constructs a world where success is the only possible shortcut for happiness and love. Jerry Lewis slapping Sandra Bernhard reminds one of Karloff slappping the kid in Bogdanovich's "Targets". This is the end.
This almost wound up being my favorite Scorcese but the ending felt too rushed, and there are a couple of scenes where one isn't sure if what's occurring on screen or one of Pupkin's delusions, which beaks the dramatic flow of the film. Still, at the very least it's a wonderful companion piece to Taxi Driver.
oh the schadenfreude ... another brilliant performance by De Niro playing the role of the full-on sociopath -- saw reflections of Cape Fear and Taxi Driver... De Niro is just really suited to play these sorts of roles... an excellent job by him and by Bernhard as well ... loved watching this film ...
While there certainly are many moments where you can’t help but chuckle at Rupert Pupkin, it is not the same type of laughter you experience with a classic comedy, but more of a very uneasy laughter. You’re laughing, but you’re more troubled than amused. Rather than looking at it is a normal comedy, I'm more inclined to compare this to Taxi Driver, with two lonely men losing it and "dreaming big."
a very impressive piece of work on the very thin line between anonymity and fame. the alienation, isolation and utter desperate violent need for fame which plagues pumpkin is fantastically presented in de niro's performance. there is a unseen emitional violence bumbling under the surface and at times this presents an uneasy tone. scorsese's masterpiece, and a level which he has struggled to consistently reporduce.