Der unbedeutende New Yorker Angestellte Rupert Pupkin (Robert De Niro) hält sich für einen begnadeten Entertainer und träumt von einem Auftritt in der Fern. Humor ist, wenn man trotzdem beißt. Zu den unbekanntesten Filmen des US-amerikanischen Regisseurs Martin Scorsese gehört “The King of Comedy”(). The King of Comedy. Martin Scorsese. USA min. V' Soll man Rupert Pupkin (De Niro) bedauernswert, beängstigend oder einfach nur unerträglich.
Besetzung & Stab: The King of ComedyThe King of Comedy. Martin Scorsese. USA min. V' Soll man Rupert Pupkin (De Niro) bedauernswert, beängstigend oder einfach nur unerträglich. Humor ist, wenn man trotzdem beißt. Zu den unbekanntesten Filmen des US-amerikanischen Regisseurs Martin Scorsese gehört “The King of Comedy”(). The King of Comedy ist eine US-amerikanische Filmkomödie von Martin Scorsese aus dem Jahr Inhaltsverzeichnis. 1 Handlung; 2 Hintergrund.
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Rupert Pupkin is a passionate yet unsuccessful comic who craves nothing more than to be in the spotlight and to achieve this, he stalks and kidnaps his idol to take the spotlight for himself.
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Comedy Scenes. Comedy Kings JukeBox Vol 6 Hindi Comedy Movies Akshay Kumar Comedy Movies Comedy Scenes. During this time, Wan reconciles with Piu-piu and he pledges to support her for the rest of his life.
Just as Wan is about to settle in the life of a movie star, his part is given back to a highly sought after male lead. Luckily, he regains his confidence with the help of the misanthropic lunchman at the studio Ng Man-tat , who is secretly a C.
Wan is used in an undercover operation, where he is disguised as a delivery boy and made to deliver a hidden gun and listening device inside take-out food.
Although the ruse is discovered and the C. The lunchman is rushed to the hospital and survives his wounds. After a somewhat successful sting, Wan finally becomes famous through a performance of the Thunder Storm.
The actors include Piu-piu, Sister Cuckoo, and his wanna-be Triad students. The end of the film involves a blatant marketing plug for Pringles brand potato chips.
The entire cast of the play stands backstage rehearsing their lines while literally stuffing their mouths full of Pringles, with the logos of all five cans clearly facing towards the camera.
King , Van Morrison and Ray Charles. This kind of hybridization of pop and scored music would later be used in Gangs of New York , The Aviator and The Departed.
A soundtrack album was released on vinyl and cassette by Warner Bros. Records in The soundtrack was finally released on compact disc by Wounded Bird Records in The King of Comedy was released on Region 1 DVD on December 12, , and on Region 2 on April 19, A digital restoration of the movie was presented on April 27, , as the closing film of De Niro's Tribeca Film Festival.
This latest version was produced from the film's original camera negatives and features a restored soundtrack.
In , it was announced a stage musical for Broadway was to be made with Stephen Trask writing the music and lyrics, and a book by Chris D'Arienzo.
Although the film was well received by critics, it bombed at the box office. De Niro said that the film "maybe wasn't so well received because it gave off an aura of something that people didn't want to look at or know".
The site's critics consensus states, "Largely misunderstood upon its release, The King of Comedy today looks eerily prescient, and features a fine performance by Robert De Niro as a strangely sympathetic psychopath.
Time Out called it "Creepiest movie of the year in every sense, and one of the best". It's hard to believe Scorsese made it". He also wrote, "Scorsese doesn't want laughs in this movie, and he also doesn't want release.
The whole movie is about the inability of the characters to get any kind of a positive response to their bids for recognition.
It is also not a bad movie. It is frustrating to watch, unpleasant to remember, and, in its own way, quite effective. Dave Kehr of the Chicago Reader gave the film a favorable review, calling it "clearly an extension of Taxi Driver " and the "uncenteredness of the film is irritating, though it's irritating in an ambitious, risk-taking way".
Which is a shame, because it's Scorsese's second-greatest film, after Taxi Driver ". David Ehrenstein , author of The Scorsese Picture , noted the mixed response of the film in his review.
He stated that The King of Comedy "cuts too close to the bone for either large-scale mass audience approval or unanimous mainstream critical acclaim".
He believed that the film presented a very critical portrayal of the Reagan administration in contrast to other films made during the administration's early years although the script was written well before Reagan's election, and shooting began less than five months after Reagan took office.
The triumph of the 'little guy' is revealed to be nothing more than lumpen neo-Fascist blood lust. Pauline Kael of The New Yorker was one of the critics who disliked the film, describing the character of Rupert Pupkin as " Jake LaMotta without fists".
She went on to write that "De Niro in disguise denies his characters a soul. De Niro's 'bravura' acting in Mean Streets , Taxi Driver and New York, New York collapsed into 'anti-acting' after he started turning himself into repugnant flesh eggies of soulless characters Pupkin is a nothing.
Scorsese has called De Niro's role as Rupert Pupkin his favorite of all their collaborations. Sandra Bernhard , who plays Masha in the film, indicated in a interview that Jack Black was interested in a remake.
However, she dismissed the idea, saying it was "too late" to do it. The film's reputation has grown over time, with some ranking it among Scorsese's finest films.
Film scholar David Bordwell , writing in Film Viewer's Guide , mentioned the un reality of the ending as a topic for debate, as there is no definitive answer as to whether the ending is reality or fantasy.
Scorsese does not offer a clear answer but forces each viewer to make up his or her own mind as to how to interpret the film.
In his commentary on The Criterion Collection DVD of Black Narcissus , Scorsese stated that Michael Powell 's films influenced The King of Comedy in its conception of fantasy.
Scorsese said that Powell always treated fantasy as no different than reality, and so made fantasy sequences as realistic as possible.
Scorsese suggests that Rupert Pupkin's character fails to differentiate between his fantasies and reality in much the same way.
Scorsese sought to achieve the same with the film so that, in his words, the "fantasy is more real than reality". Rupert Pupkin has been compared to Travis Bickle in Taxi Driver : both characters have serious issues with reality testing that is drawing the line between outer objective and inner subjective reality.
Beck considered The King of Comedy even more dangerous than Taxi Driver due to its lack of blood and gore, as well as the fact that viewers could easily identify with De Niro.
The isolated person. Is Rupert more violent than Travis? From Wikipedia, the free encyclopedia. For the Hong Kong film, see King of Comedy film.
Theatrical release poster. Ed Herlihy Self. Lou Brown Band leader. Margo Winkler Receptionist. Martin Scorsese Director.
Arnon Milchan Producer. Paul Zimmerman Writer Screenplay. Fred Schuler Director of Photography. Thelma Schoonmaker Film Editor.
Robbie Robertson Composer. The Works of Director Martin Scorsese. October 17, Full Review…. June 27, Full Review….
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February 27, Full Review…. January 21, Full Review…. September 20, Full Review…. View All Critic Reviews Aug 03, An unsettling, underrated and for a very long time misunderstood Scorsese film that benefits from excellent performances by De Niro, Lewis and Bernhard, and it is its cynical ending that elevates it to the level of brilliant satire about the power of sensationalism in our times.
Carlos M Super Reviewer. Sep 06, GOOD, OLD-FASHIONED, ALL-AMERICAN FUN - My Review of THE KING OF COMEDY 5 Stars Since Jerry Lewis died on August 20, it seemed only fitting to rewatch the 35th Anniversary screening of THE KING OF COMEDY on Labor Day.
Having been raised watching him on the Muscular Dystrophy Telethons every year on that holiday, I thought it fitting to honor him by revisiting what I feel is his greatest acting achievement.
Initially a box office bomb and largely ignored by critics, this prescient film directed by Martin Scorsese and written by the late Paul D.
Zimmerman, a former NEWSWEEK film critic, is right up there with NETWORK and A FACE IN THE CROWD in predicting the onslaught of crazy or untalented people achieving fame and power.
Sound familiar in this age of social media stars and Presidents? I also think it's Scorsese's best film and Robert DeNiro's greatest performance to date.
It also brought us a blazing, unforgettable performance by Sandra Bernhard in her debut. Since I wasn't in the game of writing movie reviews when it was first released, I thought it appropriate to take a stab at it now.
DeNiro plays Rupert Pupkin, an aspiring standup comic who lives with his mother and makes money as a messenger in NYC. He idolizes Jerry Langford Lewis , a Johnny Carson-esque late night talk show host, and dreams of a slot on his show as a ticket to instant stardom.
God forbid Rupert should pay his dues and go to every open mic night available. Instead, he practices his appearances on the show in his basement, complete with cardboard cutouts of Langford and guest Liza Minnelli.
Every now and then, his daydreams get interrupted by the voice of his mother a hilarious cameo by Scorsese's own mother , instantly reminding us of Rupert's place in the world.
We don't know yet if Rupert is talented or not, in fact we won't know until a scene near the end, but his corner-cutting entitlement predated so many Hiltons, Kardashians and Trumps.
When we first meet Rupert, he's outside Langford's studio along with a throng of autograph hounds. When Jerry enters his limo, a crazed fan jumps in after him.
That would be Masha Bernhard. Langford, adept at clocking a stalker when he sees one, immediately gets out and comes face to face with Rupert. From inside the limo, the frame freezes on Masha's hands pressing against the window, aching to make contact with Jerry.
It's such an indelible image of obsession and one in which I knew we were in for a masterful filmgoing experience. Seizing the moment, Rupert parts the crowd, shepherds Jerry to safety and then climbs into the limo himself.
He uses him time just long enough to convince Jerry to listen to a tape of his material. Never mind that he hasn't recorded it yet, Rupert takes Jerry's condescending brush-off and uses it as invitation to much more subversive actions.
Scene after scene shows Rupert trying to infiltrate Jerry's offices, but he comes across the expert deflection of a knowing receptionist or Cathy Long Shelley Hack in a cunning, astute performance , Jerry's Development Rep.
Masha also schemes to get a love letter to Jerry, but also gets the cold shoulder. In one amazing sequence, Masha chases Jerry down the street, but gets turned away at his revolving office door.
Eventually, Rupert and Masha team up to kidnap Jerry, allowing Rupert to appear on his show and for Masha to have some personal time with her prey.
What works so well in this fairly straightforward, simple story is the tone. It's meant to keep you in a constant state of queasiness. Scorsese, with his cinematographer Fred Schuler, locks the camera down most of the time so that we're forced to sit still with our main characters Things only get zippy when we're out in the New York streets.
Lewis himself directed one of those scenes in which we watch Jerry walk to work. With calls out from construction workers and cab drivers, Jerry has a little spring in his step.
A woman at a phone booth stops him to praise him. Jerry thanks her but demures when she asks him to talk to her nephew on the other end of the line.