Harvard Man (2001)



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Titolo originale: Harvard Man–>
Genere: Commedia, Poliziesco, Drammatico–>
Durata: 99–>
Nazione: USA–>
Regia:

  • James Toback

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Scritto da:

  • James Toback

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Produzione:

  • Daniel Bigel (regista)
  • Michael Burns (produttore esecutivo)
  • J. Miles Dale (co-produttore)
  • Jeff Franks (produttore associato)
  • Donald Kushner (produttore esecutivo)
  • Peter Locke (produttore esecutivo)
  • Michael Mailer (regista)
  • Phil Mittleman (co-produttore esecutivo)
  • Edward R. Pressman (produttore esecutivo)
  • Ron Rotholz (co-produttore esecutivo)
  • Jeff Sackman (produttore esecutivo)
  • Alinur Velidedeoglu (produttore associato)

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Musiche:

  • Ryan Shore

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Trama del film:

College has always been a time for experimentation, sexual, cultural and otherwise. "Harvard Man" plays out against a background of love, sex, basketball, crime and experimentation. Azione and philosophy in young people's quest to discover their true identity. Written by Anonymous

A Holy Cross cheerleader named Cindy is dating the point guard for the Harvard basketball team. Her father is a mob boss, and she gets her boyfriend Alan mixed up in sports betting. Alan's philosophy professor and Alan have something going on the side. An undercover FBI agent infiltrates Cindy's father's mafia operations. Written by COMMENT:Buffy 

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1 Comment

  1.  

    Jack Gattanella ([email protected]) said

    February 27 2012 @ 19:23

    James Toback has a wild spirit as a filmmaker and it lets itself out in
    Harvard Man in both the good and the bad that one finds in
    self-indulgent artists (I mean that as a compliment, sort of, since art
    has to be indulgent to a great degree). He takes a story of a
    basketball player at Harvard, Allan (Adrian Grenier), and transforms
    his conflicts with his multiple love interests (mob-daughter girlfriend
    played by Sarah Michelle Gellar, philosophy professor Joey Lauren
    Adams), his big gamble that he has to take a dive at a game to get his
    parents money for their house, the FBI after this backfires, and,
    mostly, his adventure into fifteen thousand milligrams of pure LSD,
    into a delirious little epic. Yes, epic.

    Toback's style is all over the place from start to finish. His camera
    reaches up high and is usually moving, even when there is absolutely no
    real reason to. The excess in the camera movement is also complimented
    (or not) by an over-written script, which is something that doesn't
    happen usually unless a writer, like Toback, doesn't know when to stop
    with his characters. He compensates by having them talk fast (that or
    his editor takes out the little catch-my-breath beats in a
    conversation), and while not as annoying as the camera movements in
    most scenes in the first half of the film, it's noticeable. It's a
    filmmaker reaching far, maybe too far, into a realm of personal
    expression and putting the story into a modern setting – check the Bach
    mixed with rap and rock for more of that.

    And yet it's hard to totally begrudge what Toback does get right here.
    When we're meant to take a lot of this seriously in the first half (the
    deep philosophical talk in Chesney's class about Kierkegard and
    Lichtenstein or that mob 'family' of caricatures), it's interesting but
    it never really works dramatically. But when Toback suddenly shifts the
    tone in the second half, when Allan takes the three cubes of LSD, it
    suddenly becomes a full-on comedy of errors and surprises. To be sure,
    some of the visual jokes and whacked-out faces that Allan sees could be
    attributed to the same style as Fear & Loathing in Las Vegas, it still
    works. Especially funny is how Allan just seems to slip out of the
    FBI's hands (watch the one really strong scene of cinematography,
    sound, and acting all combined in the FBI interrogation room), and a
    masterpiece of a cameo appearance from Al Franken (like Toback also
    former Harvard alum).

    It also helps with the comedy in the second half of the film that the
    acting, more or less, is pretty strong. Sarah Michelle Gellar actually
    gives one of her most convincing, well-rounded performances as a B-word
    whose intentions are not very well hidden but puffed up with rich-girl
    sass and sex appeal. Grenier also goes for broke as a guy with a good
    sense of himself, until he bugs out from the acid and runs all over
    town. Adams might be a little more of the one-note performance, the
    stable voice but not as intriguing as Gellar and Grenier in their
    roles. They're all put in a movie that is mixed up and has a lot to say
    about sex, drugs, life, living, betting, sports, and lots more. I
    respect Harvard Man, and if those trip-out scenes come on TV I'll be
    sure to watch again. But recommend? No. 5.5/10

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