THE LAST TYCOON

US, 1976, 124 minutes, Colour.
Robert Di Niro, Tony Curtis, Robert Mitchum, Jeanne Moreau, Jack Nicholson, Ingrid Boulting, Theresa Russell, Ray Milland, Donald Pleasence, Dana Andrews, Peter Strauss, John Carradine.
Directed by Elia Kazan.

The Last Tycoon: it is said that scenarist-playwright Harold Pinter has kept close to F. Scott Fitzgerald's novel structure and dialogue. While the construction and words might fit the printed page, they seem uncomfortable for the screen despite Robert di Niro's fine performance as the boy-wonder Hollywood producer and a gallery of reliable veterans, especially Robert Mitchum, in support. This study of an American dream fulfilled is contained in underdeveloped episodes linked by lush romantic interludes (with Ingrid Boulting English dolly-like in looks and acting). Veteran Elia Kazan directs with flair but the overall impact is much ado about not enough. The sequences of Hollywood film production become the most interesting. Other Scott Fitzgerald films include The Great Gatsby, Tender is the Night.

1. The reputation of Scott Fitzgerald? This novel amongst his works? The title and its emphases?

2. Scott Fitzgerald's look at Hollywood? His own experience there and its reflection in the novel, film? The modelling of Irving Thalberg and other personages of the 30s? Audience interest in Hollywood and the way it was presented in this film? Industry, movies, a way of life? The tourists and their response? The atmosphere of the 30s, work, ethos, capitalism and depression? The creativity of making movies? Admiration for Hollywood, critique?

3. The importance of the theme of appearances and reality? "That's movies"? The philosophy of the 30s, the fantasy world of Hollywood and its effect upon people? This film?

4. The quality of the dialogue and its relationship to the novel? Colour photography, re-creation of Hollywood in the 30's? The stars and the guest stars and the overtones of Hollywood? The opening with the tour? The making of the movie and the clashes of movie making, star temperament etc.? Monroe Starr and his interventions, his own advice for Boxley of how films worked, the appeal to the imagination? Light and darkness?

5. The focus on Monroe Starr - his name and its overtones, star? His capacities as producer, his skill in the editing room? His origins, youth, working his way up, capacities for listening to the stars, giving empathy to their problems? His relationship with his doctor and the advice to take a holiday - his capacity for hard work? Friendship with Brady, domination of him, dominance by him? The relationship with Cecilia and her pursuing him? Did! and his coping with temperamental actresses? with Boxley, with Rodriguez? Considered a boy wonder? Reputation in Hollywood? A Hollywood production?

6. The background of the Hollywood men and the executives? The importance of Brady and his influence, reputation, skills, finance? Fleishacker and his influence? The very old man who had confidence in Starr? Dinner sequences, discussion about New York, investments and the making of money, quality movies and running at a loss etc.?

7. The impact of the earthquake at the beginning - a shuddering through Hollywood? The accident of the earthquake and Starr's having to cope? His memories of his wife and her Hollywood shrine? His seeing of Kathleen Moore in the artificial situation with the head and the water? The likeness to his wife? The infatuation with Kathleen, with the memory of his wife? The impact on him in the quake situation? The showing of his search, the telephone calls during his work? The discovery of Edna, the discovery of Kathleen? The contrast with Cecilia? Pursuit? The importance of meeting Kathleen at the ball, the dancing? Taking her on outings, to his house? The pressure on her because of his regard for her? How important was this episode in his life? The memory of his wife, trying to make her live again?

8. Who led whom in the romantic infatuation of the two? Kathleen and her leading, her slackness in telling the full truth, the eventual telling of the truth? Starr and his infatuation, at her house, at the dance, the telephone calls, the outing and the arrangement with the cars, the relaxation at the place with the seals? The importance of his taking her to his house? The fact that it was unfinished? Location, look, how symbolic of Starr and his hopes? The sexual consummation and its significance for them both? The importance of the return, the letters, phone calls and telegrams? The confusion for Kathleen? The confusion for Starr? The fact that he was left alone with the movies? How influential in his breaking down was this episode with Kathleen?

9. The skill of the boy wonder, coming from nowhere, the visualising of his skills? His disappointments? The post-infatuation breakdown? His taking on of the union, discussing, drinking, fighting? The tragic flaw which prevented him from coping with the situation? The studio taking over? The final image of him at the window? The significance of the last tycoon?

10. The portrait of Kathleen Moore - as a woman in herself, as a reflection of Starr's dead wife? Her personality, explanation of herself, the past, love affairs, America? Infatuation with Starr? The complex motivations, sexual fulfilment, leaving him, the irony of the letters, phone calls? Her leaving him?

11. The contrast with Cecilia, the American girl with her college background, her freedom of the studios and offices, imposing her presence on Starr and his treating her as a young girl? The ball and her disappointment? Her relationship with her father, irritation with him, with the girl in the office? As the referee and hostess and the visit of Brimmer? Her trying to save Starr? Would there be a future for her with him?

12. The portrait of Pat Brady, the Hollywood executive, experienced, helping Starr, bowing to his judgement? His own personal life, women, his daughter? His participation in the defeat of Starr?

13. Fleishacker as the New York lawyer, the look at Hollywood with outside eyes, his place on the Board? The other Board members and their attitudes towards film-making and money-making?

14. The background of film-making, the overtones of Casablanca-style film? The tantrums with the director Red Riding Wood and Starr's handling of his dismissal? Did! and her tantrums, French reputation, style of acting? Rodriguez and his clashes with Did!, his interview with Starr and fears about his impotence? A child seeing his father? His reassuring of Rodriguez and the happiness afterwards - of husband and wife? The reprisal at the making of the film and the final scene, its unsuitability, the critique of Boxley's dialogue? The irony of the premiere with Didi as a success? A recapitulation of the artificial Hollywood attitudes?

15. The significance of the writers: Wiley White and the fact that many others were writing the script as well as he, his clash with Starr, Starr's reassurances? Boxley as the eccentric Englishman, the writer? The appeal to his imagination with Starr acting out the creative sequence? Its reprisal with Boxley as drunk? The humour and irony of the such a 'movie' sequence?

16. The significance of the encounter with Brimmer? Brimmer and his communist background, the unions, the clash of personalities and style with Starr, behaviour at the restaurant, at eating and drinking, the fight? Brimmer's superiority and control over Starr? The table-tennis sequences?

17. What had happened to Starr? Were the Board disillusioned? Their swift action against him?

18. The final sequence and Starr's re-enactment of his imaginary sequence? As some kind of image of his life?

19. Themes of human nature, success and failure, love and infatuations? A particularly American look at life? Hollywood dreams and reality? Social observation, Labour and Capital, American values and their exploration and critique?