King Of Comedy Statistiken
Rupert ist ein erfolgloser Stand-up-Comedian in New York City, der sich selbst für den verkannten Größten unter den Comedians hält. Einzig sein größtes Vorbild Jerry lässt er als Konkurrenz gelten. Pupkin hat nur ein Problem: die Öffentlichkeit. The King of Comedy ist ein US-amerikanischer Spielfilm von Martin Scorsese aus dem Jahr Inhaltsverzeichnis. 1 Handlung; 2 Hintergrund. King of Comedy. (15)1h 49min Rupert Pupkin (De Niro) hält sich selbst für ein Comedy-Genie. Um das endlich auch dem Rest der Welt klar zu machen. aiue.se: Finden Sie The King of Comedy in unserem vielfältigen DVD- & Blu-ray-Angebot. Gratis Versand durch Amazon ab einem Bestellwert von 29€. Rupert Pupkin (Robert De Niro) ist jedoch felsenfest überzeugt: Er ist der neue King of Comedy. Als er sich geschickt in den Wagen des.
Robert De Niro möchte unter der Regie von Martin Scorsese zum King of Comedy aufsteigen. The KING OF COMEDY. Martin Scorsese USA, , min,. Mit: Robert De Niro. Jerry Lewis. Diahnne Abott. Sandra Bernhard. Mick Jones. Joe Strummer. Rupert Pupkin (Robert De Niro) ist jedoch felsenfest überzeugt: Er ist der neue King of Comedy. Als er sich geschickt in den Wagen des.
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Alternate Versions. Rate This. 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.
Director: Martin Scorsese. Writer: Paul D. Watch on Prime Video included with Prime. Added to Watchlist. From metacritic.
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Did They Even Act? Rupert Pupkin Jerry Lewis Jerry Langford Diahnne Abbott Rita Keane Sandra Bernhard Masha Ed Herlihy Ed Herlihy Lou Brown Band Leader Loretta Tupper Stage Door Fan Peter Potulski Stage Door Fan Vinnie Gonzales Stage Door Fan Whitey Ryan Stage Door Guard Doc Lawless Chauffeur Marta Heflin Young Girl Katherine Wallach Autograph Seeker Charles Kaleina Autograph Seeker Richard Baratz Learn more More Like This.
Mean Streets Crime Drama Thriller. A small-time hood aspires to work his way up the ranks of a local mob. Raging Bull Biography Drama Sport.
Cape Fear Crime Thriller. After Hours Comedy Crime Drama. Casino Crime Drama. Taxi Driver The Last Temptation of Christ The Color of Money Drama Sport.
Dog Day Afternoon Biography Crime Drama. New York, New York Drama Music Musical. After such a strong critical appreciation for the way in which Scorsese had shot Raging Bull , the director felt that The King of Comedy needed more of a raw cinematic style, one of which would take its cues from early silent cinema, using more static camera shots, and fewer dramatic close-ups.
Scorsese has noted that Edwin S. De Niro prepared for Rupert Pupkin's role by developing a "role reversal" technique, consisting of chasing down his own autograph-hunters, stalking them and asking them lots of questions.
As Scorsese remembered, he even agreed to meet and talk with one of his longtime stalkers:. The guy was waiting for him with his wife, a shy suburban woman who was rather embarrassed by the situation.
He wanted to take him to dinner at their house, a two-hour drive from New York. After he had persuaded him to stay in Manhattan, [De Niro] asked him, 'Why are you stalking me?
What do you want? My mom asked me to say hi. De Niro also spent months watching stand-up comedians at work to get the rhythm and timing of their performances right.
Fully in phase with his character, he went as far as declining an invitation to dinner from Lewis because he was "supposed to be at his throat and ready to kill him for [his] chance".
According to an interview with Lewis in the February 7, , edition of People magazine, he claimed that Scorsese and De Niro employed method acting tricks, including making a slew of anti-Semitic epithets during the filming in order to "pump up Lewis's anger".
Lewis said he was invited to collaborate on certain aspects of the script dealing with celebrity life. He suggested an ending in which Rupert Pupkin kills Jerry, but was turned down.
As a result, Lewis thought that the film, while good, did not have a "finish". In an interview for the DVD, Scorsese stated that Jerry Lewis suggested that the brief scene where Jerry Langford is accosted by an old lady for autographs, who screams, "You should only get cancer", when Lewis politely rebuffs her, was based on a real-life incident that happened to Lewis.
Scorsese said Lewis directed the actress playing the old lady to get the timing right. At the time he wrote his script, Paul D.
Zimmerman was inspired by a David Susskind show on autograph hunters and an Esquire article on a fanatical Johnny Carson follower.
Prompted by the alienation he felt from his growing celebrity status,  and De Niro's insistence that the film could be made "real fast", and that it would be a "New York movie"  Scorsese's interest in the project was rekindled.
Scorsese's first choice for talk show host Jerry Langford was Johnny Carson , in what would have been his only acting role in a film.
Carson refused the role, saying "you know that one take is enough for me". Arnon Milchan suggested shooting begin a month earlier than scheduled in order to avoid possible work stoppage from the DGA strike.
Furthermore, Scorsese was not in good health. Scorsese had suffered from poor health both before and during the film's production.
He had previously worked on three films close together and not long after, found himself hospitalized due to exhaustion and pneumonia.
He had not recovered when shooting began. Robbie Robertson produced the music for the film's soundtrack and contributed his first original work after leaving The Band entitled "Between Trains".
The King of Comedy soundtrack is a mix of popular music and thematic orchestral scoring by composer Bob James.
King , Van Morrison and Ray Charles. 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 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.
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.
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. Embassy International Pictures. Archived from the original on October 6, Retrieved October 13, Neibaur and Ted Okuda.
The New York Times. Archived from the original on October 30, Retrieved February 13, Archived from the original on October 29, Retrieved February 6, Scorsese on Scorsese , p.
May 9, Archived from the original on December 25, Archived from the original on December 14, Dangerous Minds.
Archived from the original on October 26, Retrieved October 14, Basingstoke, UK: Palgrave Macmillan.
Scorsese on Scorsese Repr. London u. De Niro: A Life. New York: Crown Archetype. Untouchable: Robert De Niro: Unauthorised.
London: Random House. Who The Hell's In It , p. Archived from the original on August 1, Retrieved August 15, Martin Scorsese: A Biography.
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