This could've been a contender! The first half of the film is electrifying! The very animalistic sex scenes, the intricately detailed prison scenes, and the very honest court scenes seem too real. The original cut (125 min.) is the one to check out for sure, however, there are three misplaced scenes that left me confused.
This is a conflicting beast, challenging, simultaneously decadent and low-key. Is Ferrara perverting our sympathies to inequality, rendering in procedural detail the humiliation of the fat-cat in the system? Or appealing to our innate vilification of the rich? I couldn't find evidence in the film, which attacks the US corporate ethics as much through its title as anything else. Controlled vileness?
A fearless political commentary disguised as psychological examination. Ferrara uses his Strauss-Kahn facsimile as personification of both the financial crisis & the mindset of those in positions of power; protected by laws that leave them free to use & abuse the lowest rung of society. The character, like the condition itself, becomes a wild animal; pawing & groping its way through the culture; consuming everything.
The moments spent inside the prison among the other (black) prisoners and the sequence in which an inner monologue takes us to realize his addition as a result of an ideological deficit are great moments "a la Ferrara", pursuing some of his main routes: one erosive vision of a realism's sociology and the allusion to an existential fable. The rest is a schematic statement, particularly arduous in the sex sequences.
Worst acting I've ever seen, Depardieu can't even speak english correctly, most of the time he just grunts like an animal. No logic in the dialogues, Depardieu and his wife are supposed to be french, but wtf they argue in a weird mix of English/French. This movie is a hole full of nothing.
Ferrara delivers his most powerful film since 'The Addiction' with this under seen gem that courted controversy on both sides of the Atlantic with its' ripped from the headlines take on the DSK affair. Depardieu gives a raw, knowing, majestic performance of a kind we haven't seen from him in years. Exceptionally well directed film turning a eye on this modern Caligula. Ferrara has always been hit or miss..this hits.
The first 20 minutes of this film really pissed me off-Oh no, another film about a rich banker screwing hookers/ But, unlike The Wolf of Wall St., at least this film doesn't glorify it or make it into a joke. Still, having to see Depardieu's corpulent naked torso over and over again is grotesque cinema. The only part of this I really enjoyed was the 30-second clip of Jean-Pierre Leaud from Bed and Board.
When Depardieu suddenly breaks the fourth wall (3 times?)! AHH! Just as striking, the black man who takes to the stand immediately after Devereaux is granted bail; he's not getting out of jail. Depardieu larger than ever, and not afraid. A convincing portrayal of a lost soul; but this totally flatlined (also just fucking speak French with your French wife!). Still worthy. Do not watch the US cut; original only.
Altro ottimo lavoro di Ferrara,che dipinge la storia di un uomo di potere in modo estremamente crudo,senza ipocrisie ma con il grande merito di non cercare mai il colpo ad effetto per stupire lo spettatore.Prima parte iper-cupa e lussuriosa,poi vira verso il lato intimo e mostra il logorio che dà l'assuefazione al potere,reso alla grande nei molti duetti con la moglie. Gerard mastodontico,in tutti i sensi.
The fall of a man, shot with psychological depth. We have hell, as in many Ferrara films, but redemption seems badly sketched: I think that the last scene, with the mexican maid, tries to be something of the kind. Yet, like many other scenes, it is merely didactic. One must admit, though, that few directors have such freedom and truth in the way they depict people, their vices, their attitudes, their monstruosities.
You haven't really lived until you've felt the steely talons of the police clasped around your… well, you get the idea. Welcome to New York indeed. It's all cialis, cognac and ice cream til it goes too far. The rules do and don't apply to Devereaux, and that inconsistency is part of the film's point and part of its uneasy relationship to addiction, enabling and the dispersals of anguish that come with the territory.
Exploitative, controversial, crass, disgusting, sickening, unapologetic and brilliant! Loved every sleazy minute. Watching Gerard lumber through the film liked a grunting, pot-bellied, sexually charged wild boar made his character one difficult person to engage with. For me, this was the master stroke of Ferrara. Is the man someone we despise? Or sympathise for? Selfish or sick? Mad or bad? You decide...