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Fitzgerald's fifth and unfinished novel is, of course, an excellent source. It is a great challenge even given the ending, which the filmmakers have to complete themselves and pay off the debt that Hollywood owed to the immortal author. It's only logical that shortly after the new adaptation of The Great Gatsby with Redford, it was time for The Last Tycoon. I've now seen the Amazon Studios series adaptation, and it has surpassed this Kazan film in every way. The 70s didn't really bother with authentic sets, so it's hard to believe that the plot should take place in the 30s, especially if the point of it all is the Hollywood glamour touch. We won't find it here. De Niro isn't bad in the lead role and for its time it's a star-studded film - today, we appreciate everyone from Nicholson to Mitchum to Millard. Unfortunately, the female roles are cast in an outright unattractive manner, and it doesn't matter whether the lead girl is the unknown Boulting or the fading Moreau. The pace is slow, which drowns out anything interesting. As a first adaptation, this Tycoon is worth a watch, but I can only recommend it if you prefer Kazan and De Niro to the subject matter and premise, but if you want to experience the real story of Monroe Stahr, watch the new series. The psychology of the characters and the sets work better in it. (22.10.2017)

The prototype for De Niro's character was the famous film producer Irving Thalberg (1899-1936), according to Fitzgerald's book, who was also a dazzling young talent and co-builder of the MGM empire. Yet that is not the only connection the film has with "cinema" itself: not only does it take place in the environment of film studios, but its entire structure contains many, albeit not flashy (which is quite suitable for this type of period film), metafictional elements. For example, the film (within the film) that De Niro is working on is a beautiful ironic reminder of both the old Hollywood era and an ironic balance of the (false?) nature of cinema in general. There are several of these nostalgic and sarcastic references in the film (the functioning of the film industry, communist screenwriters, marginal immigration to the USA), making it a personal reflection on Elia Kazan's past as well. (21.03.2014)