Bill, Martha and their little child Hal are spending a quiet winter Sunday in their cosy house when they get an unexpected visit from Mike Nickerson and Tony Rodriguez. Mike and Tony are ... See full summary »
Eddie is a very rich man who has everything he wants; money, family, success, but a car crash causes him to reevaluate the life he leads. Searching for the happiness he lost, he remembers his one-time lover, Gwen, even as his wife conspires to take his fortune...Written by
Chris Makrozahopoulos <firstname.lastname@example.org>
When Florence finds the pictures in Eddie's desk, she picks them up and starts walking towards Eddie. The prints appear to be about 4 x 6". However, when she goes to tear them up in front of him, the prints become much larger - almost twice the size. See more »
OK, yes, I know, I'm nothing, I never was, but you! You could have been...
...What you could have been. ...What happened to you, Eddie? Must kill you to think what you might have been.
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Elia Kazan's 1969 midlife-crisis epic is an x-ray of American manhood gone cuckoo for Cocoa Puffs. Kirk Douglas, icon of tortured machismo, plays Eddie Anderson, son of a tyrannical Greek merchant (Richard Boone) turned Madison Avenue sell-out. He sleeps in childlike separate beds with his wife (Deborah Kerr), who looks and acts more like his mother. He's obsessed with the one woman (Faye Dunaway) who looks at his barbered, Lavoris'd self and sees the Man He Could've Been. The sixties satire of Organization Man is stock, the bombast beats thick and hard, and, as per usual, Kazan can't resist the Big Moments that are thoroughbred Hollywood hokum. But it's impossible to deny that this is as anguishedly personal as any of Kazan's movies--and the machete hacking through the brush that cleared the way for Cassavetes, Scorsese and Ferrara. With its mod, PETULIA-style sets, balletic editing and penchant for stylized tricks, it's also the most goofily cinematic of Kazan's pictures--a Sam Fuller whirligig turned into a slick, upscale thirty-second spot.
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